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EXPLOITING 




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Vol. X 



CHICAGO, JULY 12, 1913 



No. 1 



ADRIEXXE KROELL, 
WITH SELIG 








"Quo 




Vadis ? ' ' 



Bids You Welcome! 



You — who are essentially of Filmdom 
— should see Filmdom' 's mightiest 
creation. 

Go see "Quo Vad;'s?" — and you will 
agree that the world's last masterpiece 
is made. 



Twice Daily At The Astor Theatre 



GEORGE KLEINE 

166 N. Stale Street CHICAGO 





/ 



INDEX TO VOLUME X 

MOTOGRAPHY 



July 1, to December 31, 1913 



IZ1 

<9 — 



Actor Davis Reviewing Edison Scenario 368 

Actress Becomes a Sleep Walker 90 

Actual Battle Scenes 184 

Adding to Edison Studio 168 

Additional Land Purchased 212 

Advance Sale of Laclede Features 370 

Adventures of Kathlyn," "The 459-460 

Airship Blows Up in Mid-Air 344 

Airship Blows Up with Daring Kleine Actor.. 308 

All Eyes Are on Kinemacolor 6 

Ambrosio Feature Coming 34 

American Actor Held Up 147-148 

American Engages Consulting Director 346 

American Engages Fencing Master 60 

American Erects London Plant 492 

American Pictures. By Gaumont ...154 

American Plant Increases Capacity 24 

American Players Band Benefit 408 

American Purchases Cattle 332 

American to Film Popular Poem 252 

American to Produce Fairy Story 164 

American's First Three Reel Feature 474 

An Ail-Around Lead 241 

An Excellent Ramo Feature 486 

An Indian Star 74 

An Innovation in Film Marketing 289 

Anderson's New Theater Opens 348 

Another Famous Player's Achievement 212 

Another Gaumont Added 296 

Another Kessel in the Game 382 

Another New Departure 458 

Another Reliance Thriller 236 

Another View of Censorship (Editorial) 340 

Anti-Trust Sold to Universal 219 

'Antony and Cleopatra" 455-458 

"Arizona" Can Be Billed Like a Circus 184 

"Arizona" Going Fine 294-295 

Arkansas Holds Convention 9-10 

At the Vatican 90 

"Atlantis" In Moving Pictures 248 

Attractive Mailing Card 31 

Automobile Sacrificed to Art 230 

Ayres Writes Scenario 386 



B 



Backbone of the Business, The (Editorial) .191-182 

Baker Talks of "Buffalo Bill" Films 425-426 

Ball Plans Completed 344 

Belasco Joins Ince 272 

Bell Adair Joins Eclair 445 

Bell & Howell Purchase Site 370 

Benefits of Organization (Editorial) 155-156 

Benham Is No Villain 447.448 

Bertillon Test Saves Innocent Man 277-278 

Betzwood On the Perkiomen 121-122 

Beware of "Jack Wright" 145-146 

Big Battery of Filters 468 

Big Kleine Theater Unique 448 

Big Set Required, A 140 



Bigger Majestic Company 392 

Bill Knew He was "Dead" 164 

"Bill" to Be a Picture Star 394 

Bill was a Bit Nervous 148 

Blair Returns to Picture Field, T. H 148 

Blanche Sweet With Mutual 468 

Blazing Trail in Glacier National Park. .. 195-196 

Bonny Baron von Teuber 318 

Both Sides Marking Time 331 

Bradford Succeeds Blache 58 

Brevities of the Business 35-36, 77-78, 113- 

116, 149-152, 185-188, 221-224, 257-260, 299- 
302, 333-336, 371-374, 409-414, 449-452, 495-498 

British Cinematograph Registrations 356 

"Broncho Billy's" Theater 183 

Buffalo Bill Signs with Essanay 253-254 

Business Head of The Ambrosio Co., The.. .101 
Butte Has Ideal Theater 28 



California Stands by League 255 

Call for Illinois Convention 255 

Call for Illinois Convention 176 

Call for Indiana Convention 176 

Calling for Return Dates 392 

Calvert Has Narrow Escape 220 

Camera Man a Human Barnacle 140 

Can George Terwilliger Swim ? 147 

Canadian Releases for Warners 198 

Can't Sleep in Theater 184 

Capturing Footlight Favorites 252 

Cardinal Farley "Close-Ups" 32 

Cecelia Loftus for Famous Players 328 

Cecelia Loftus in "A Lady of Quality" 494 

Celebrates Thirtieth Anniversary 492 

Celluloid Films 408 

Censoring Posters (Editorial) 263-264 

Change in Majestic System Ill 

Changes in Personnel of Universal Co 354 

"Checkers" Greeted with Enthusiasm 398 

"Cherry Pickers," The 29S 

Children of Filmland. By Mabel Condon. 464-467 

Chinese Photo Drama Coming 168 

Chinese Picture Man Visits Kleine 308 

Christmas Trio, A 493 

Church Goers See Pictures Free 228 

Cincinnati Exhibitors' Banquet 446 

Cinematograph Invasion, A (Editorial) 418 

Cines Brings Spanish Actors to Rome 122 

Cines Film Abounds in "Big" Scenes 207-208 

Cipher Message Proves Thieves' Undoing. .381-5o2 

City's War On Street Deaths 228 

Cleveland League Elects Officers 312 

College of Projection, A 146 

Comedy Every Friday, A 183 

Complete Record of Current Films 

37-38, 79-80, 117- 

118, "l53-154, 189-190, 225-226, 261-262, 297- 
298, 337-338, 375-376, 415-416, 453-454, 499-500' 

Conference on Censorship 390 

"Conscience ?" 124 



Consuelo Bailey in Pictures 478 

Continuous Projection of Motion Pictures. By 

Lewis C. Van Riper 363-364 

Corbett Now a Photoplayer, J. J 242 

Cox Goes East 490 

Coytesville Studios Reopened 398 

Current Educational Releases 

19-20; 105-106, 141-142, 177-178, 

217-218, 251-252, 286, 327-328, 443-444, 487-488 
Current Kleine Comment 101 



D 



Dare Devil Riding 370 

Daring Bit of Work, A 218 

Daughter of Pan" Charming, "A 478 

Decorative Lighting in a Theater .400 

Delaware Exhibitors Meet 9 

Department of Commerce to Use Films 2 

Detroit Exhibitors' Banquet 380 

Diamond-S Potpourri, A 

97, 139, 241-242, 317-318 

Diner," "The 332 

Doc Yak Series to Continue 352 

Does Not Affect Exhibitors 291-292 

Dog-Day Shows (Editorial) 1 

Dope of the Dopester 

260, 302, 336, 373-374, 414, 452, 498 

Dopester Says, The 224 

Doris Mitchell Joins Essanay 92 

Dramatic Story of Land Grafter's Operations. . 

305-306 



East N. Y. Association Meets 331 

Eastman to Enter Field 110 

Eclair Announces "Joan of Arc" 294 

Eclair Filming Classics 184 

"Eclair-Universal Famous Author Series" ...448 

Eclair's Multiple Reel Comedy 492 

Eclectic Film Company Removes 31 

Ed- Au Club Is Formed 368-369 

Edengraph Projecting Machine, The 401-402 

Edison Comedy Every Monday 295 

Edison Detective Series Popular 17 

Edison Doings in England 100 

Edison Issues Music Cues 291 

Edison Players Off to Florida 420 

Edison to Begin New Series 326- 

Edison to Release Detective Story 134- 

Edison Two-Reel Every Friday 112 

Edison's "The Robbers" 98 

Empire Films Coming 26 

Employ Italian Operatic Troupe 282 

English Stars to Make Features 230 

Enlarged Vitagraph Plant 146-147 

Enlarging the House Organ 408 

Entertaining the Convention Visitors 53-55 

Escape of Jim Dolan," "The 353-354 

Essanay Actress Loves to Fly 166 

Essanay Leading Lady to Marry 30 



11 



INDEX 



Essanay Offers Interesting Dramas 203-204 

European Imp Company Returns 346 

Evans Now a General Manager 34 

"Everyman" in Pictures 4 

Exchanges Are Buying Feature 296 

Exclusive is Branching Out 490 

Exclusive Program Hailed by Exhibitors 329 

Explosion Seriously Injures Ryno Director. .. 108 

Exposition Notes 9 

Exposition of the Motion Picture Art 50-52 

Extensive Sales 219 

F 

Famous Players' Exchange Adds States 296 

Famous Song Basis of Feature Film 311-312 

Fangs of Hate," "The 445 

Farnum Engaged for All Star 268 

Father John 295 

Feature Abounds in Thrills 343-344 

Feature Patheplay, A 382 

Featured as "Kate Kirby" 58 

Featured in Ballad 34 

Features Only for Ramo 110 

Feist to Tour Southwest Ill 

Fifteen Hundred Cubic Feet (Editorial) ... 377-378 

Fighting Photoplayer Dead 218 

Film Business Uses Many Automobiles 158 

Film Censorship in Norway (Editorial) 378 

Film Company at Starved Rock 166 

Film of Great Interest 64 

Film Press Agents' League 316 

Film Studio for Seattle 164 

Film Taken of Spanish Bullfight 307-308 

Film War Scene on Lubin Estate 122 

Filmed Raid on Still 234 

Filming Auto Tour 320 

Films as Evidence 446-447 

Films Didn't Harm Fealy 219 

Films Made from Famous Poem 218 

Films to Illustrate Lecture 370 

Films to Instruct Farmers 40 

Films to Teach Pupils 192 

Fined Six Cents for Sunday Show 34 

Fire Scare, A 241 

First "Broncho Billy" Multiple Reel 269-270 

First Celio Release Coming 220 

First Christmas," "The 492-493 

First Edison English Production 102 

First Thanhouser "Big One" 392 

Fixes Date of First Picture Machine 168 

Flaming Forest Cantured by Film Camera 

385-386 

Florence Lawrence Returns 110 

Florentine Tragedy," "A 32 

"Flying A" Multiple Reels 33 

Forbes Robertson's "Hamlet" 66 

Free Pictures for City Parks 40 

Freuler Back from Europe 248 

From Cincinnati to Louisville 214 

From Dusk to Dawn to Chicago 369 

From Mabel Condon's Viewpoint 55-56 

,1 Out of the Depths" 75-76 

Frontispiece 1. 39. 81, 

119, 155, 191, 227, 263, 303, 339, 377, 417. 4SS 



"Garouche, The Ghoul" MO 

Gaumonl Co. to Haw City Offices 147 

Gaumonl Gets European Rights 296 

i Film Notes 31 

Kliinr (lives Free Entertainment. .. .148 

Publii ity Service 90 

Kl. i n< to i ie Bi oadway Stars 109 

Gene Gaunti i 158 

Gertrude Coghlan Joins Selig 97-98 

Get Pi nis Ill 

Gel Ramo Films Here 425 

of the Hacienda," "The 211-212 

Cirl Rescued from Sea Proves Leper 127 128 

I ikes Thrilling Ride 242 

li 303-304 

Golden Cloud, The 241-242 

G 1 MeWS f'H Scenario Writers 326 



Gorgeous Interior Setting 370 

Government Using Power's Machine 436 

Governor Johnson a Film Fan 34 

Grafting Contractor Is Exposed 247-248 

Grand Old Lady, A 329-330 

Greater New York Association Meets 2.18 

Grecian Vase, The 160 

Green God," "The 94 

Griffith Leaves Biograph 289 

Griffith with Mutual 367 

Growth of the Pictures, The (Editorial) 264 

Guerrillas of Algiers," "The 440 

Gunning Now with Warners 219 

H 

Hackett Again Faces the Camera 18 

Had Narrow Escape 446 

Haddock Engaged by All-Star 332 

Hadley to Assist Mindil 440 

Harry Raver Heads New Film Company 31 

Has a New Wrinkle 270 

Helen Gardner's Productions for Warner's. .. .332 

Henry M. Blossom to Assist 295 

Hindoo Priests Avenge Theft of God's Eye... 

347-348 

Historical Masterpiece, An 444 

Hoffman "Puts One Over" 494 

Home Ties Bring Wanderer Back 475 

Honey-Making Films 264 

"Honor Thy Father" 13-14 

Hopp May Head Feature Film Company ... .390 

Horrible Example", "The 272 

Horsley Has Big Plans for Future 232 

House of Gaumont, The 107-108 

House of Mystery," "The 67 

How It Feels to Fly 85-86 

Howell Sales Agency Opens 294 

I 

Illinois Withdrawal Indorsed 110 

Illustrate Manufacturing Process 120 

Imperator Filmed by Kinemacolor 17 

In Defense of Features 108 

"In the Bishop's Carriage" 220 

"In the Days of Robin Hood" 1S3 

"In the Fangs of Jealousy" 446 

"In the Watches of the Night" 296 

Inaugurates a New Era 442 

Increasing Capitalization 112 

"Indiana for Indiana" 293-294 

Indiana Has Independent Association 240 

Industrial Film Popular 109 

Interesting Experiment Shown in Film IS 

Interesting Features Coming 268 

Interesting Mexican Views 254 

Increasing Their Territory 292 

International Dramatic Competition 369 

International Motion Picture Association. . .47-49 

lola Has Municipal Picture Show 174 

Irene War field Engaged 196 

Irish Feature Coming 220 

living Cummings a Real Hero 26-27 

Irving Cummings Joins Universal 4o2 

Is Another "Protea" 404 

Is Film Censorship Necessary? (Editorial)... 

119-120 

ttala Moles 31-32 

Mli. M. i Company Returns 204 

J 

.1. A. C, Plant Busy 160 

"Jephthah's Daughter" 244 

Jules Verne's Stories for Films 384 

Jusl .i Moment, Please, By Neil G. Caward. . 

28, 62, 94, 

132, 168, 110 16 7 '. 310, 346, 384, 13 !, 170 



K 



EC. & E, with Biograph 26 

Kansas Branch Holds Election 169 

Kansas City Film Popular 14 



Katherine Kerrigan Joins Brother 407 

Katlilyn Williams in Animal Dramas 30 

Kerrigan Enacts a Soldier Role 143-144 

Keystone Two Reeler Full of Laughs 440 

Kinemacolor as Kris-Kringle 462 

Kinemacolor Fashion Pictures 362 

Kinemacolor for Feiber & Shea 164 

Kinemacolor Licensed by Patents Co 146 

Kinemacolor's New Submarine Subject 145 

Kinemacolor on the Coast 370 

"King Robert of Sicily" 63-64 

Kirkwood to Biograph 112 

Kleine Adds $1,000 to Prize 438 

Kleine Builds Studio in Italy 492 

Kleine Enlarges Offices 312 

Kleine Optical Company Issues Catalog 140 

Kleine Posters Cause Comment 184 

Kleine Sails for Europe 232 

Kleine to Build New York Theater 220 

Kleine's "Pompeii" Breaking Records 442 

L 

Lasky Enters Film Game 491-492 

Last Days of Pompeii," "The 265-268 

Laura Sawyer, Alias "Kate Kirby" 332 

Lawford Entertains Hickey 62 

Lawyer Was Mysterious "Lead" 130 

League Members Banquet in Washington 326 

League Members to "Romp" 9 

League's Big Five Day Convention 41-46 

"Leah Kleschna" Coming 384 

Lesson of the Pictures, The (Editorial) 340 

Lillie Langtry in Production 282 

Lima Exhibitors Organize 380 

Limited Program Advocated 292 

Linn Features "Doom of the Ocean," K. W. .360 

Lion on the Rampage, A 220 

Litigation Is Ended 407 

"Lost at Sea" — A Union Feature 408 

Louise Glaum Joins Kay-Bee Co 34 

Lubin Studio at Los Angeles, The 27 

Lubinites Off to Florida 278 

Lunchroom of Thanhouser Studio 366 

M 

Mabel is Very Popular 33 

Mace Back to California 408 

Mace Has Japanese Star 12 

Magazine Story Dramatized 6 

Magic of a Name, The 148 

Magie Goes to Universal 109 

Maine Is Organized 11 

Majestic Filming Anglo-Japanese Romance. .. .332 

Majestic Moves Into New Quarters 181-182 

Man Who Liked Moving Pictures, The 82 

Mandelbaum Acquit es "Pompeii" m 

Manicure Girl Tried for Murder 16 

Marguerite Snow's Return 448 

Marion Leonard for Warner's Program 1S4 

Marion Leonard in Strong Playlet 328 

Marshal Farnum with Selig 32 

Mary Fuller Has Real Romance 236 

Mary Garden Filmed 420 

"Mary Magdalene" in Kinemacolor 64 

Masonic Orders Display Interest 430 

Quits League 218 

Mateldi is Actor. Not Matador 362 

May Gel Carnegie Modal 316 

McClure Heads Vanofilm Service 324 

McGovern S Ennis 272 

McGrath to Write Selig Story 250 

Melies Old Studio Sold 218 

"Mendel Beilis" Picture, A 407 

Michigan Convention 1-11 

Mignon Has Adventures 

Minnesota Delegates Report 140 

Minnesota Elects Officers 10-11 

Minnesota Exhibitors to Rally 407-408 

..t.i Likel) to Withdraw 2?(. 

Miscellaneous Happenings 152, is" 188 

Miss Fealy's Next 62 

Mrs LaBadii Loses Limp 111-112 

Miss Robert's "Sapho" Filmed 124 



INDEX 



in 



Mission Fathers See First Moving Pictures. .. .448 

"Money's Merciless Might" 145 

More Kid Pictures Coming 148 

More Mary Films Coming 14 

Motion Picture Exhibitors' League of Ameri- 
ca, The 9-11 

Motion Picture Hand Camera 432 

Motion Picture Making and Exhibiting. By 

John B. Rathbun 21-24, 69-72, 

95-96, 135-138, 169-172, 213-214, 249-250, 283- 
284, 321-322, 357-358, 395-396, 435-436, 481-483 
Motography's Gallery of Picture Players.. 25, 
61, 93, 131, 167. 209, 235, 271, 309, 345, 431, 463 

Mrs. Marston is Gentle 18 

Much Reflection of Detail 447 

Music With Their Pictures 491 

"Mutual Girl" Series to Start Soon 406 

Mutual Offices Moved 109 

Mutual Sends Company West 458 

Mutual's Electric Studio Finished 422 



N 



N. Y. Theater for "Broncho Billly" 406 

Ne'er to Return Road," "The 65-66 

Neff Conference Accomplishes Little 148 

Neff Reorganizes Illinois 289-290 

Nesbitt and McDermott Return 462 

New Actors at Selig's 1 40 

New Allies for Famous Players 491 

New American Series 62 

New American Studio 31 

New Brand on Universal Program 294 

New Brands on Exclusive Program 356 

New California Company Incorporated 255 

New Canadian Law 1S4 

New Edison Projector 460 

New Essanay Studio Opened 27 

New "Flying A" Studio, The 288 

New House Organ Appears 448 

New Illinois Local Organized 9 

New Kinemacolor Plant 295-296 

New Kinemacolor Projector 330 

New Lead for Kleine-Celio Films 102 

New Leading Man Engaged 212 

New Leading Man for American 280 

"New Majesties," The 30 

New Managers Appointed 183 

New Pet is Bottled 380 

New Poster Soon Ready 148 

New Producer, A 242 

New Quarters for Warners 184 

New Reliance Studio 104 

New Screen Club Opened 430 

New Stars for All-Star 494 

New Studio Nearly Complete 92 

New York Association Formed 166 

New York Holds Stormy Session 330 

Newman Plant Enlarged 220 

Night Photography 158 

No Confession Possible 33 

No Thrills in "Last Night of Barbary Coast". 360 

Not Majestic's Johnstone 76 

Not So Funny 56 

Notables Sail for Cuba 329 

Notables View "Gettysburg" Pictures 294 



O 



Ocean Liner Chartered for Film 293 

Odd Lubin Story 256 

Of Interest to the Trade 31-34, 73-76, 107- 

112, 145-148. 181-184, 219-220, 253-256, 289- 
296, 329-332, 367-370, 405-408, 445-44S, 491-494 

Of Interest to Scenario Writers 354 

Oklahoma Elects Delegates 9 

On The Outside Looking In. By the Goatman 

15-17, 87- 

89, 127-130, 161-164, 199-202, 237-240, 273- 
276, 313-316, 349-352, 387-390, 423-425, 471-474 

On to New York (Editorial) 2 

O'Neill in "The Count of Monte Cristo" 310 

One Association or Two? (Editorial) 39-40 

One Reel Play Breaks a Record 364 

Open Letter to the Clergy 493 



Operator's Job, The (Editorial) 192 

"Opportunities and a Million Acres" 438 

Orders New Kind of Condenser 376 

Oregon Exhibitors Organize 294 

Our Fifth Merry Christmas (Editorial) .. .479-480 

Our New York Office 228 

"Out of the Mouths of Babes" 448 



P. A. Powers Heads Warner's Features 14S 

Pair of Jungle Sky-scrapers, A 317 

Palace Theater Featuring Its Orchestra 140 

Pathe Establishes Florida Plant 329 

'Pay-as-You-Enter' Man," "The 379-380 

Pearl White to Tour Europe 76 

Peoria Convention Plans 208 

Perform Daredevil Feat Before Camera. . .133-134 
Performs Death Dance at Society Fete. .. .233-234 

Perhaps You're in This Picture 292 

Personal Notes 35-36, 77-78, 113, 

149-150, 185-187, 221-222, 257-258, 299- 

300, 333-335, 371-373, 409-410, 449-451, 495-498 

Phillips Writes Texas Exhibitors 326 

Photoplay Deals With the Occult 341-342 

Photoplaying Under Water 56 

Photoplay wright's Banquet 14 

Picture Has Real Bull Fight 220 

Picture House at Glasgow a Palace 229-230 

Picture of 1950', A 478 

Picture Shows in Mexico 156 

Pictures Claim Burr Mcintosh 407 

Pictures for the Blind 2 

Pictures of Airman 2 

Pictures Popular in Spain 156 

Pilgrimage of Advantage, A 317-318 

Pilot Company Shows Feature 90 

Pirung-Ennis Wedding, The 426 

Players Become Real Heroes 218 

Poiret Creations Pictured 296 

Polar Photography Under Difficulties 130 

Popular Magazine Story Filmed 59-60 

Poster Censorship Question, The (Editorial) . . 

417-418 

Posters Make Sensation 292 

Power of Conscience," "The 123-124 

Power of the Screen, The (Editorial) 120 

Powerful Human Interest Story, A 243-244 

Preparations for Detective Drama 242 

President Neff's Convention Report 144 

President Neff Makes Statement 176 

President Neff's Notes 220 

Prison Labor Story for Reliance 112 

Private Showing of "Tess" Film 382 

Prodigal Returns Home After Many Years. 421-422 

Projector Now Fool-Proof 4 

Prominent Exhibitors 

12, 58, 100, 138, 174, 356, 394 

"Protea" 290-291 

Prudish Old Maid, A (Editorial) 418 

Purchase Historical Relic 342 

Puzzle — Find Alan Hale 104 



Q 



Queen Asks to See "Pompeii" 390 

Question of "Repeats," The (Editorial) 378 

"Quo Vadis?" Publicity 14 



R 



Railroad Employees See "Steam" 134 

Rajah's Diamond Rose," "Tne 308 

Ramo Enters Exclusive Program 198 

Ramo Establishes Foreign Agency 14 

Ramo Has a Big One 493 

Recent Edison- Kinetoscope Installations 11-12 

Recent Patents in Motography. By David S. 

Hulfish 179-180-, 215-216, 287-288, 489-490 

Reincarnation Theme of Essanay Film 165-166 

Reliance Players With Circus 210 

Reliance Studio Notes 296 

Remarkable Makeup, A 20 

Remarkable Versatility Necessary 32 



Reorganize New York State League 166 

"Repeats" Are Frequent 407 

Required Large Wardrobe 493.494 

Rice Heads Picture Concern 219 

Richard C. Travers Joins Essanay 90 

Rise of the Pictures, The (Editorial) .40 

Ritchey Praises "Her Rosary" 49 

Rivals" Has Successful Rendition, "The ..331 

Rivals" in Kinemacolor, "The 256 

Roll of States 

36, 78, 113-116, 150-152, 187, 222-224, 

258-260, 300-302, 335-336, 410-414, 451-452, 498 

Roman Spectacle Filmed in California 279-280 

Ross to Star in "Checkers" 291 

Royal Welcnme Awaits Exhibitors 446 

Russell Smith Joins Mutual Staff 428 

Ryno Contracts for Thriller 294 



S. S. Hutchinson and Family in California.... 84 

Said to Be Last Word in Features 147 

Sans Grease Paint and Wig. By Mabel Condon 

5-6, 57-58, 

99-100, 125-126, 159-160, 205-206, 245-246, 
281-319-320, 355-356, 393-394, 437-438, 477-478 

Santa Barbara to Offer Unique Exhibit 252 

"Sapho" a Clean Film 246 

"Sapho" and "Moths" for Mutual 160 

Screen Club Nominations 219 

Sea Wolf" a Wonder Story, "The 359-360 

Second Picture of Series Ready 173-174 

Secure Illinois Rights to "Arizona" 268 

Selig Building London Offices 32 

Selig Company Producing "The Spoilers" 98 

Selig Players Going to California 49 

Selig Players in Busch Garden 370 

Selig Goes to Europe, W. N 196 

Selig Goes West, W. N 369 

Selig to Exhibit at Manchester 33 

Selig's Army Operator 160, 

Sensational Film Depicts Diver's Work. .391-392 

Serpent in Eden," "The 386 

Seven Carloads of Lumber Utilized 370 

Shadow of Nazareth," "The 366 

Silence is Broken, The 156 

Silver Grindstone," "The 278 

Simplex Enlarges Factory 428 

Singer Rejects Offer to Become Opera Star.. 

429-430 

Sleeping Beauty," "The 1 10 

Society and Club Outings Filmed 89 

Society Seeing "Pompeii" 445 

Some Excellent Feature Offerings 323-324 

Some Excellent Feature Offerings 439.440 

Some Excellent Feature Offerings 467-468 

Some Wonderful Night Photography 197-198 

Soon to Release a Classical 244 

Spectacle Enthused Audience 18 

Spero Now With Warners 182 

Spoilers" Uses Many 'Supts,' "The 140 

Stage Head-on Collision 132 

Stage Rights Withdrawn 28 

Standard Exchange Sold 331 

Still Another Animal Feature 3.4 

Stork Visits Hire Home 164 

Stork Visits Kessel Home 296 

Strange Audiences See "Pompeii" 468 

Strike Didn't Halt Business 396 

Stupendous Undertaking, A 181 

Such Is Fame 76 

Sunday Show, The (Editorial) 81-82 

Supernumeraries Well Handled 157-1 5S 



Takes Place of an Orchestra 291 

Taking Pictures of the Frozen North 231-232 

"Tapped Wires" a Real Feature 7-8 

Telegraphing Cinema Films 352 

Tell Unique Story 182 

Territorial S;>!cs Record Broken 182 

Texas Meeting Next Week 331 

Thanhouser Prosperity Notes 84 

That Dietz Picture 90 

Theater and the Film, The 94 



IV 



INDEX 



Theater Film Supply Company Moves 280 

Theater Ventilation Discussed 367-368 

This Prophet Has Honor 1 46 

Three Musketeers," "The 494 

Three Reel American Coming, A 402 

Three Reel Show Assured 206 

Three Reels or More 254-255 

Thrilling Pathe Special, A 46 

To Censor or Not (Editorial) 339-340 

To Entertain Lavishly 11 

To Form $100,000 Corporation 445-446 

To Open Southern Exchanges 448 

To See Themselves on Screen 408 

To Show Film to Notables 33 

Tom Mix 476 

Took a Month to Make 168 

"Traffic in Souls" a Moral Play 397-398 

Trans-Atlantic Company Opens New Office. 41 9-420 

Tribute From Vienna, A 318 

Truth in the Wilderness 29-30 

Twist's Second Love Feast 362 

Two Divers" Is Spectacular, "The 296 

Two Features Ideal per Month 390 

Two Kay-Bee's a Week 342 

Two-Reel "Alkali" Ike, A 91-92 

Two-Reel Romantic Costume Play, A 83-84 



U 



Uncle Sam Needs Pictures 32-33 

Unique Kinemacolor, A 442 

Universal Film Exchange Holds Election 329 



Unusual Care Taken by Director 308 

Use Authorized Posters 370 



V 



Ventilation Decision Soon 405-406 

Ventilation Problems (Editorial) 82 

Venus Features 74-75 

Versatile Leading Woman, A 68 

Village Almost Burned 68 

Visit to the Cines Plant at Rome. By Eugene 

Dengler 67-68 

Visited American Plant 

Vitagraph's Two Reel Comedy 122 



W 



Wait for Christmas Number 494 

Waiting for "Arizona" 76 

Warner Notes 282 

Warner's Notes 164 

Warner's Offer "Theodora" 73-74 

Warner's Western Pictures 210 

Wells Contracts for Kinemacolor 160 

What's a "Bo?" What's a "Lady Bo?" 62 

What's the Matter With the Single? (Editorial) 

227-228 

Weber and Fields in Pictures 292-293 

Weekly Multiple Reel, A 104 

"What 80 Million Women Want!" 406-407 

What the Future Holds for Pictures 175-176 



Where the Artistic Temperament Is Fed. By 

Xeil G. Caward 461-462 

Where the "Biographs" Are Made 193-195 

Who Will Get This Job? 284 

Who's Who in the Film Game 103- 

104, 325-326, 361-362, 399-400, 441-442, 485-486 
"Who's Who" Is a Kinema Collier Comedy... 219 

Why New York Withdrew 92 

Why Not a Doll Souvenir? 394 

Widow Foils Villain and Saves Fortune. . .433-434 

Will Attempt to Reorganize Wisconsin 430 

Will Faversham Sign Contract? 44S 

Will Put Out Road Show 370 

"William Tell" in Kinemacolor 109-110 

Wisconsin Association Organized 126 

Withdrawal Approved 104 

Wonder of the Films, The 120 

Wonderful Tappeweins" Filmed, "The 148 

Wonderful Theater Scene 310 

"Wop" Comedian in Pictures 434 

World Entertains. The 74 

World's Largest Property Room 408 

World's Series Pictures in Great Demand 292 

Wreck," "The 425 

Y 
You Can't "Touch Him" Now 34 

Z 
Zukor Talks of European Situation 320 



July 12, 1913 



MOTOGRAPHY 



The Kleine Optical Co 

Largest and Oldest Wholesalers and Retailers of 
Motion Picture Supplies and Apparatus in America 



Fits the Theatre complete from Tickets to Curtain ! 
Nowhere can you find larger selection of equipment, 
better prices or more prompt service. 

The Kleine Optical Co. invites your business — offers 
you choice stocks of the latest and best in Theatre Equipment 

If You Redecorate or Build 
This Summer 



See us! Remember we supply EVERYTHING needful — and 
from under one roof, thus saving you the confusion of 
separating your purchases, awaiting delayed shipments with 
%the attendant dissatisfaction and loss. 

America's largest and oldest house guarantees you a 
square deal, prompt and courteous attention and rock bottom 

prices. W^hat more can you ask ? 





The Theatre Equipment 
Department Store 



Chairs 


Bunch Lights 


Mercury Arc Rectifiers 


Color Wheels 


Rotary Converters 


Cement 


Transformers 


Oil 


Rheostats 


Film Menders 


Lenses 


Exit Lights 


Condensing Lenses 


Slides 


Tickets 


Special Advertising Slides 


Ticket Holders 


Cork Carpet 


Ticket Choppers 


Hemp Carpet 


Ticket Boxes 


Cocoa Matting 


Ticket Dispensing Machines 


Poster Frames 


Spot Lights 


Etc., Etc.. Etc. 



Kleine Optical Co. 

166 N. State Street 
Chicago 



Tell the advertiser you saw it in MOTOGRAPHY. 



WITH WHICH IS INCORPORATED THE NICKELODEON 



CHICAGO, JULY 12, 1913 



PUBLISHED BI-WEEKLY BY 

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CHICAGO, JULY 12, 1913 






TABLE OF CONTENTS 

Lubin Stock Company at Los Angeles, California Frontispiece 

Editorial 1- 2 

Dog Day Shows 1 

On to New York 2 

Still Another _ Animal Feature 3- 4 

"Everyman" in Pictures 4 

Sans Grease Paint and Wig. By Mabel Condon 5- 6 

"Tapped Wires" a Real Feature 7- 8 

The Motion Picture Exhibitors' League of America 9-12 

General Film to Entertain Lavishly 11 

Prominent Exhibitors 12 

"Honor Thy Father" 13 

Photoplaywrights' Banquet 14 

On the Outside Looking In. By the Goat Man 15-17 

Hackett Again Faces Camera 18 

Current Educational Releases 19-20 

A Remarkable Makeup 20 

Motion Picture Making and Exhibiting 21-24 

Motography's Gallery of Picture Players 25 

K. and E. with Biograph 26 

Empire Films Coming 26 

New Essanay Studio Opened 27 

Just a Moment Please 28 

"Truth in the Wilderness" 29-30 

Essanay Leading Lady to Marry ' 30 

Of Interest to the Trade 31-34 

Harry Raver Heads New Film Company 31 

New American Studio 31 

"A Florentine Tragedy" 32 

Selig Building London Offices 32 

Ambrosio Feature Coming 34 

Brevities of the Business 35-36 

Complete Record of Current Films 37-38 



DOG-DAY SHOWS. 

A FEW years ago the average small exhibitor met the 
approach of really hot weather by paring down ex- 
penses, taking what little patronage he could get, and 
sitting tight until the good season came back. As a vari- 
ant, he sometimes closed up altogether for a couple of 
months, preferring to risk the loss of a little prestige 
rather than operate at a financial loss or, at best, at a 
personal inconvenience and no profit. 

Today the same exhibitor, or his successor, frequent- 
ly takes the opposite course and actually increases his 
expense, or at least his program, for hot weather. In 
this way he may succeed in holding his patronage, or 
the majority of it; but it is doubtful if the net result is 
much more satisfactory, in the average case, than under 
the other method. 

The modern American citizen is rapidly acquiring 
a passion for "outdoors." His house, or even -his flat, has 
a sleeping porch and a dining porch. He works with his 
office windows wide open, while his wife does as much 
of her household labor as possible on the veranda, and 
the children take their toys out onto the lawn to play. 
And in the evening they naturally select some outdoor 
amusement. This condition must be considered and met 
by the exhibitor who would attain the highest success. 

This is not an argument for airdomes. They have 
their place, but they will never replace the regularly ap- 
pointed theater, even for hot weather. After all, the 
problem of bringing patronage to a theater at any time 
is one of attractiveness, but that term includes more 
necessary factors in summer than it does in any other 
season. In cool weather a bright, clean house, a good 
picture program and good music may be sufficient. In 
hot weather the item of comfort, which nearly takes 
care of itself at other times, becomes almost, if not quite, 
the predominant factor. It is not over-estimating its 
importance to say that even the pictures on the screen 
are less vital. 

The conditions which make for hot weather thea- 
ter comfort are, of course, temperature, humidity and 
ventilation. These are all inter-dependent, and no one 
can be sacrificed in favor of another. 

When the thermometer stands at 90 outside it 
seems a rather difficult matter to keep it down to 80 
inside. Nevertheless, it can be done, and a continu- 
ous supply of fresh air maintained. Of course, it costs 
more than merely operating half a dozen 12-inch fans ; 
but the fans are next to useless, while the cooling system 
is an investment that will pay big returns. 

It is quite conceivable that the oppressed and over- 
heated citizen would pay a nickel just to get into a cool 
place, regardless whether any entertainment was thrown 
in or not. The summer exhibitor may regard coolness 
and fresh air as his chief asset and attraction, with his 
program demanding the usual consideration, of course, 
but unable by itself to draw the crowds. 

In the dog-days the picture theater whose interior 
is constantly supplied with cool, fresh air has little com- 
petition and the biggest possible attraction. 



MOTOGRAPHY 



Vol. X, No. 1 



ON TO NEW YORK. 

THIS is the week when all roads lead to New York 
City. 

Exhibitors from Maine to California and from 
Texas to Minnesota have been for months looking for- 
ward to this week and planning to either close up their 
theaters temporarily, or else to leave them in charge of 
competent assistants, while they left for New York to 
attend the third annual national convention of the Mo- 
tion Picture Exhibitors' League of America. 

To some few exhibitors of the country, and here 
let it be said their number is really exceedingly small, 
the trip to the national convention appears to be but a 
form of joy ride — a sort of midsummer holiday, with 
pleasure the sole object in view. To the vast majority 
of exhibitors' however, attendance at the convention is 
a duty which they owe to themselves, the meeting with 
thousands of other exhibitors, the discussions of the 
problems which they daily face and the exchanging of 
experiences and advice, is to the hustling energetic theater 
manager what the normal school in the summer is to 
the school teacher. 

At the New York gathering the observant exhibitor 
is almost unconsciously going to absorb new ideas, and 
learn new methods of conducting his theater so as to 
make it more than ever attractive to his patrons. He will 
come back from the convention refreshed, rejuvenated, 
and full of snappy new ideas that he has picked up, while 
discussing matters with other exhibitors. 

Men in all branches of the industry are doing their 
utmost to make this year's convention the best that has 
ever been held in every respect. The manufacturers 
are all arranging entertainments for their guests on an 
elaborate scale. Many of the studios are to be thrown 
open to the exhibitors and the convention delegates will 
be taken through the vast plants and shown every detail 
of film making. Players from all the principal com- 
panies are going to hold receptions for the exhibitors 
and meet face to face the men who are helping to make 
them popular. The General Film Company, the Mutual 
Film Corporation and the Universal Film Manufacturing 
Company are all to have private theaters under the roof 
of the same structure in which the convention is held, 
and will there show advance releases from their various 
programs, thus giving those who attend the convention 
a little glimpse of what they may expect during the com- 
ing months in the way of attractive and unusual film sub- 
jects. Dealers in supplies of all kinds will have elaborate 
displays at the convention and offer for the first time 
many novelties in the way of apparatus or fixtures neces- 
sary in conducting a really high class and up-to-date 
theater. In fact there will be something to interest every 
man, woman and child who attends the big convention 
and the exhibitor who stays at home is going to miss 
some really big things. 

Some big and vital problems of the motion picture 
industry are coming up for consideration before the 
national body, and the exhibitor who is not present to 
vote upon the questions while they are being considered 
will have himself alone to blame if he is, later on, dis- 
satisfied by the decision of the national body. It is a 
notable fad that, as a rule, the man who has the most 
complaint to make against any particular measure that 
has been passed at previous conventions is the man who 
Stayed at home while his fellow exhibitors were tran- 
sacting the very affairs in which he should have been 
mosl vitally interested. When it is all over and the 
hustling, red-blooded enthusiastic men of his profession. 



who take an active interest in affairs which effect the 
industry as a whole, have voted to act as the majority 
thought best, then the languid, "don't-care-what-they-do," 
stay-at-home chap sends up a call for help that can be 
heard half way round the world, instead of making it 
a point to himself attend the convention and voice his 
protests there, if he has any to make. 

As a duty to yourself, as a means of bettering the 
entertainment you are nightly offering your patrons, as 
a proof that you are a real progressive, up-and-doing, 
live-wire exhibitor attend the convention, even though 
you may have to make some sacrifices in order to do 
so. You'll bring back enough ginger, enthusiasm and 
new ideas to make it well worth your while to go. 



DEPARTMENT OF COMMERCE TO USE FIEMS. 
Motion pictures are to be used to illustrate certain 
phases of the work of the Department of Commerce, in 
accordance with the recent decision of Secretary Red- 
field, who believes that such a method would be of value 
both to the department and to those interested in its 
work. Among the activities to be shown are those of 
census workers collecting and collating their data ; Bureau 
of Fisheries men at work at fishing grounds ; means used 
by the Bureau of Standards for establishing correct sys- 
tems of weights and measures, and the Coast and Geo- 
detic Survey surveyors taking soundings and measure- 
ments for use in preparation of official maps. 



PICTURES OF AIRMAN. 
The army hydro-aeroplane used at the North Island 
aviation field, California, for teaching the student mili- 
tary airmen, is equipped with a motion-picture machine 
of standard make, attached to the rear uprights of the 
flying boat. The camera is operated with a crank with- 
in easy reach of an operator sitting beside the airman. 
The particular purpose for which the motion picture 
machine was installed on the flying boat is to make pho- 
tographs of the airman in action, says the Popular Me- 
chanics Magazine in an illustrated article, so that the 
aviation student can be shown just how an experienced 
airman guides his machine. When the student pro- 
gresses sufficiently to operate an aeroplane himself, mo- 
tion pictures of his flights may be produced, showing 
just what errors he made, if any, during his trip through 
the air. 



PICTURES FOR THE BLIND. 
Startling as it may seem, Professor Dussaud of 
Paris, a scientist of considerable note, has produced a 
motion-picture apparatus for the blind, by means of 
which they may experience the illusion of moving ob- 
jects as people with full powers of vision do in viewing 
an illuminated screen. The apparatus consists of a ma- 
chine operated by electricity which causes a series of re- 
liefs, representing trees, birds or other objects to pass 
rapidly under the fingers. The reliefs are so graduated 
that the delicate sense of touch of the blind translates 
their variations into apparent movements of the objects 
which are represented. The device is mainly employed 
for e lucational purposes. 



Wray Physioc keeps adding to the Ramo stock com- 
pany; Arthur Finn, formerly with Lubin and Reliance 
companies, is the latest addition. Mr. Finn will be feat- 
ured in some forthcoming comedies now under direc- 
tion. 



Iuly 12, 1913 



MOTOGRAPHY 



Still Another Animal Feature 

Bessie Eyton Rides An Ostrich 



THE Selig producers, responsible for the series of 
multiple reel animal feature films which the Dia- 
mond S. brand has been releasing now for some 
time, have introduced in their pictures almost every sort 
and kind of animal or beast which infest the jungles, but 
in the latest Selig release, entitled "A Wild Ride," which 
will be released on July 12, still another thrill is added 
by featuring an ostrich. 

Never before, to our knowledge, has a motion pic- 
ture manufacturer utilized an ostrich as one of the lead- 
ing features of his film subject, though inumerable pic- 
tures of ostrich farms, etc., have been taken. The Selig 
people have, however, hit upon a novel and extremely 
daring "stunt" as the thriller about which the story of 
"A Wild Ride" centers, and it seems safe to say that 
every audience that gathers to witness the film, after its 
release, will hold its breath as it watches Bessie Eyton,. 
the daring young woman whom the Selig people have 
already featured in "Alone in the Jungle," "Wamba," 
and several others of their animal features, perform her 
dangerous ride. 

Miss Eyton mounts, unassisted, to the back of a 
large ostrich and, clinging to the back of the bird in some 
wonderful manner, succeeds in riding it, while it dashes 
across the desert at the speed of an express train. This 
ride, which really gives the title to the picture, is taken 
to bring aid to the besieged settlers, who have been at- 
tacked and are entirely surrounded by African Zulus. 

The synopsis of the film, as prepared by the Selig 
company, reads as follows : 

In the lone drear stretches of the South African 
deserts many transplanted English families are engaged 
in the lucrative occupation of ostrich ranching. Don- 
ald McGraw is a well-to-do rancher, living somewhat 
out of the beaten path of civilization but happy in the 
possession of a charming wife and beautiful daughter. 
The first few years of their South African existence is a 




Attacked by Zulus. 

O 

long hard struggle, but McGraw perseveres and builds 
up such a good business that he is enabled to buy a town 
house in Johannesburg, where Mrs. McGraw resides. 
During the school term, Florence, the daughter, attends 
a private school in the South African metropolis, during 
which period she lives with her mother at the town 



house. Her mother watches her education very care- 
fully, and under the tutilage of the best teachers obtain- 
able Florence develops into an extremely beautiful and 
talented woman. On the night of her graduation an 




Going for Help. 

elaborate ball is held in honor of Florence at which the 
elite of Johannesburg are present. Among the guests 
is a young English officer, Lieut. Borden by name, who 
has just come over from England, to join His Majesty's 
forces in South Africa. During the evening Lieut. Bor- 
den is introduced to Florence. Flushed with the excite- 
ment of the evening the young couple find much in com- 
mon to talk about and before the ball is over a mutual in- 
fatuation has sprung up between them. 

On the following day Florence and her mother leave 
Johannesburg in a carriage, bound for the McGraw os- 
trich ranch, where Florence is to spend the" summer with 
her father. By a strange coincidence, some hours later 
in the day, Lieut. Borden departs in company with a 
sergeant and an orderly for a military post which lies 
some miles distant from the McGraw ranch. The wild, 
dangerous strip of country, through which Florence and 
her mother are forced to pass, is infested by a daring 
band of savage Zulus who are led by a half breed rene- 
gade called Juhalli. When about half way through their 
journey and while they are passing a particularly dan- 
gerous strip of the road, Juhalli and his followers jump 
out of their improvised ambush and waylay the carriage. 
By means of brute force they frighten off the servants 
and maltreat and plunder the two women. The escap- 
ing servants run backward along the trail and in doing 
so suddenly come upon Borden and his troopers. Ex- 
planations are quickly made, and the young officer and 
his followers put spurs to their horses and soon over- 
take the frenzied Zulus. A few shots suffice to disperse 
the savages, and Lieut. Borden accompanies the women 
to the McGraw ranch. During the fray Juhalli, the 






MOTOGRAPHY 



Vol. X, No. 1 



leader, is wounded, and shaking his fist after the de- 
parting carriage vows dire vengeance. 

After seeing the women safely to their ranch, and 
taking advantage of the occasion to again renew Flor- 
ence's acquaintance, Lieut. Borden makes his way on to 
the military outpost. Some weeks pass. Juh.alli hovers 
around the neighborhood of the McGraw ranch nursing 
his grudge and planning his revenge. One night, the 
half breed with his following of wild Zulus enter the 
corrals and drive off all the horses. This successfully 
cuts off, supposedly, all means of flight from the ranch 
house. The next morning Juhalli and his Zulu band 
attack the unsuspecting residents of the Ostrich ranch. 
The McGraws put up the best defense possible under 
the circumstances, taking refuge in the ranch house 
where they pile furniture, etc., . against the doors and 
windows. The fight is long and desperate. Outside, 
the Zulus utilize every opportunity to wreak damage on 
the imprisoned ranchers. Every time a head appears at 
one of the windows a poisoned arrow, skillfully thrown, 
hits its mark. Inside the ranch house, the men fight 
desperately with their waning stock of ammunition. Fi- 
nally the ammunition runs out, and the outlook seems 
very dark. The men make their last stand with axes 
and knives. Juhalli summons the more daring of his 
half breeds and with flaming torches sets fire to the 
house. At this crisis, when all is apparently lost, Flor- 
ence conceives an idea. Without speaking to anyone 
she quietly escapes by a rear window and makes her 
way to the ostrich corral. Here she mounts her favorite 
bird, Sandy, and grasping the one chance to save those 
dearest and nearest to her, she undertakes a wild ride 
over the desert, to the military post commanded by Lieut. 
Borden. Hanging on with grim determination she gives 
the ostrich free rein. Faster and faster over the prairie 
stretches of the African desert the huge bird speeds. 
The ride is successful and Florence, finally, reaches the 
outpost. As she drops, fainting, from the back of her 
ostrich, Lieut. Borden rushes to her aid. Hastily sum- 




Bessie Eyton's Wild Side. 

moning a force of mounted soldiers, and also an elephant 
equipped with a gatling gun, they rush to the aid of 
the imprisoned family. The rescue is affected just in 
the nick of time. Juhalli is killed and the Zulus dis- 
persed, as the remnants of the ranch house totter in the 
flames. Father McGraw desides that since his daugter 
insists upon living at the ranch, she must have a military 



protector, so the gallant young lieutenant becomes a co- 
partner in the ostrich business, as well as a member of 
the family. 

The cast is as follows : 

Lieut. Borden, of the C. F. M. Rifles Thomas Santschi 

Donald McGraw, a well-to-do South African Ostrich 

farmer Frank Clarke 

Leigh Jones, his foreman Wheeler Oakman 




The Burning Home. 

Layland Brown Wheeler Scott 

Juhalli, a half-breed renegade Ferdinand Galvez 

Mrs. McGraw Lillian Hayward 

Florence McGraw Bessie Eyton 

Sandy (the pet ostrich) By himself 

Projector Now Fool-Proof 

The Kinemacolor Company of America has re- 
cently introduced a device which is the last step in 
putting the projection of its pictures on a "fool-proof" 
basis. A short while ago the new improved filter came 
out and now, after many exhaustive experiments, comes 
the "color corrector" attachment which instantly cor- 
rects the color of the picture being projected in event 
of a new operator having threaded the film up wrong 
or making an improper joint and so causing an entire 
reversal of the color scheme. This reverse color has 
been a frequent occurrence with inexperienced opera- 
tors, but the new device will place any operator in the 
experienced class. Formerly correcting this "off color" 
necessitated stopping the machine and changing the posi- 
tion of the film, which is now done by pressing a little 
lever and instantly the desired effect on the screen is 
obtained without any unnecessary delay. 

"Everyman" in Pictures 

Kinemacolor is going into the "feature film" field 
with a vim that bids fair to cut a wide swath before the 
summer time is over. The latest new feature from 
California will add a notable subject to the present list. 
It is none other than "Everyman." the early English 
morality play, which served to introduce Edith W'ynn 
Mathison to America, when Ben Greet brought over the 
London production and presented it first at Mendelssohn 
Hall. 1 -ast spring the spectacle had a very pleasant revival 
in the Children's Theater on top of the Century, so it 
is still "live matter," although classed as one of the oldest 
plays on the English stage. Linda Griffith, who rein- 
carnated Hester Prynne in Kinemacolor, portrays the 
title role with pictorial eloquence that excels the turgid 
language of the old play, while instead of only one stage 
set, the scenic backgrounds are especially suited to all 
the stages of Everyman's journey. 



July 12, 1913 



MOTOGRAPHY 



Sans Grease Paint and Wig 

By Mabel Condon 




John Bunny. 



IT WAS John Bun- 
ny's treat and the 
treat-ers were Lil- 
lian Walker and I. 

"W hat! You 
never saw the ocean? 
I'll have a taxi here 
in five minutes and 
we'll go down to 
Brighton Beach and 
have a dip," the ami- 
able Mr. Bunny in- 
vited as he removed 
his straw hat, pro- 
duced a monstrous 
handkerchief with 
which to mop his 
brow and instead, 
waved both hat and 
handkerchief toward 
a pretty blonde girl 
wearing an evening 
gown and surrounded 
by a group of men in 
the shade of the Vitagraph studio. 

"Oh Nut ! Come here !" shouted Bunny, and the 
pretty girl turned, waved a good-bye to her friends and 
sauntered over. 

"We're all nuts here," explained Bunny, "and this 
particular one is Lillian Walker." 

"And Jack is 'Father Nut'," laughed Lillian, and 
then "Jack" said, "How'd you like to go for a swim, Lil- 
lian?" And Lillian clapped her hands and said, "Fine — 
only I've got to play a scene this afternoon." "Leave it 
to me," Bunny promised, "and run along and get that 
make-up off." 

So Lillian ran along and Mr. Bunny and I sup- 
ported the stone balustrade of the studio stairs while 
we waited for her and the taxi, and Mr. Bunny said 
it was beastly hot. I said it wasn't nearly as hot weather 
as Chicago enjoys, and just as the Bunny handkerchief 
made its second appearance, some one came along, 
slapped Bunny on the back and said, "Well, well, well," 
etc. ; so in the excitement of meeting an old friend, the 
handkerchief was restored to the Bunny pocket, the 
while the Bunny countenance continued to radiate its 
opinion of the weather. 

"Tell me about yourself," I invited when the new- 
old friend had been sped upon his way. "Nothing to 
tell," Mr. Bunny answered, and began with the fact 
that he was born in New York, started his theatrical 
career in a band in a minstrel show, joined a circus 
and then blossomed into a Shakespearean actor, follow- 
ing this promotion with that of business manager and 
advance man for various productions; then back to the 
footlights. 

"Then dawned the day of the motion picture," went 
on Bunny, groping in the coat pocket in which his hand- 
kerchief was not. "I've got the best pal in the world—" 
"Your wife?" I asked, and he said "Yes," and con- 
tinued: "I saw the possibilities of motion pictures' and 
decided they were my big chance. I put it up to my 
pal and she said 'I'm with you,' so I gave up my work 
on the stage, came to the Vitagraph studio, starting at 



five dollars a day and am now getting enough to keep 
us on Easy street. 

"But one can't get rich all at once," he admonished, 
guessing that I thought maybe he was a millionaire, al- 
most. A warning shake of the head and a blind search 
in his right-hand coat pocket accompanied the admonish- 
ment. 

"Nope ; and I remember the time when things looked 
pretty black for us ; one Christmas we and our two boys 
sat down to frankfurters and rye bread and thought it 
a feast. But we managed to put the boys through school, 
refused to consider their going to work to help with the 
family income and now they're masters in their line; 
they're both camera men." 

And just as the Bunny out-size handkerchief was lo- 
cated in the Bunny hip pocket, a taxi dashed up to the 
steps, Lillian Walker appeared in the doorway with a 
rain-coat covering her negligee and a tight little hat 
nestling down over her ears and, with Mr. Baker shout- 
ing information as to a three o'clock scene and Hughie 
Mack hustling his 318 pounds of avoirdupois out of the 
way of the chug-chugging car, Lillian and I settled our- 
selves into the corners of the big forward seat, Mr. 
Bunny gesticulated his directions to the driver and, with a 
bound of the car, we were off for Brighton Beach. 

"Jack, sit here between us," Lillian invited, patting 
about two square feet of leather upholstery. "Yes, do, 
there's lots of room," I encouraged, wondering if there 
were. 

But Mr. Bunny said he preferred the chair-seat and 
removing his hat, he made his handkerchief into a comfy 
wad — and mopped his brow. 

"Don't you want to know something about Miss 
Lillian, here?" asked Mr. Bunny, succeeding in replacing 
his handkerchief despite discomfiting jolts. "Go ahead, 
Lillian, and make a speech," he ordered. 

"Oh, I can't, Jack — I don't know anything to tell," 
Lillian wailed, as a deep rut played sea-saw with her 
side of the car. 

"Well, I'll do it for you, then," volunteered Mr. 
Bunny. And he did, thusly : "Lillian is the cause for 
ninety-nine out of every hundred amateurs seeking ca- 
reers in the motion picture field. Her beauty and grace, 
combined with youth and a study of this great field, 
made for a success sufficient to entice any young lady 
into the work. She lives very sensibly; her mother and 
sister and she live not far from the studio in a house 
which Lillian, herself, bought. So, with talent and good 
home environment, there is no reason why Lillian can't 
attain her ambition — to be the world's greatest photoplay 
actress." 

The car made an abrupt turn onto Ocean Parkway 
and Mr. Bunny's speech came to an abrupt pause. "You 
blessed Jack," Lillian murmured, patting one of "Jack's" 
hands, "you're awfully sweet!" 

"The fads and foibles of the young women of to- 
day," continued Mr. Bunny, waxing eloquent and cool, as 
the car speeded a delicious breeze into being, "occupy no 
place in the life of Miss Walker." Miss Walker giggled 
and Mr. Bunny added "None — except turkey-trotting." 
"And swimming," amended Miss Lillian. 

The car swung in beside the Shelbourne hotel ; we 
alighted and hurried along the board-walk to the bath- 
house. 



MOTOGRAPHY 



Vol. X, No. 1 



"Now hustle, girls," Mr. Bunny admonished, as he 
disappeared, carrying a blue woolen bathing-suit in one 
hand and an extra supply of towels in the other. We 
hustled, and were down a full five minutes before he 
made his appearance; long enough for me to experience 
the buoyancy of the surf and to swallow a mouthful of 
the saltiest water I had ever tasted. 

"Oh, you Bunny !" a bronze-tinted boy on the beach 
saluted, as the owner of that name made a dignified 
descent of the slope from the dressing room. 

"Hello there, Bunny!" a group of sand-bathers vol- 
unteered, while from the veranda of the bath-house, sev- 
eral bath-robed figures waved red-hots and bottles of gin- 
ger-ale with the sending of various greetings. 

Miss Walker shook hands all around with the admir- 
ing group of sand-bathers who said they had missed her 
from the beach since ten days previous, when a director 
had motored down and literally dragged her out of the 
water to return to the studio and finish a scene. 

"Oh, how I hate the first plunge," Lillian shivered, 
wrinkling up her nose at Mr. Bunny, who stood at the 
water's edge, smoking a cigarette. "Just twenty minutes 
in the water — that's all," Mr. Bunny announced, and Lil- 
lian lost no time in splashing out into the surf and set 
out, with long, even strokes for the quarter-mile raft, 
and shortly a life-saver put out after her in a row-boat, 
just for safety's sake. 

"A great girl, Lillian," commented Mr. Bunny as I 
dripped out beside him upon the warm sand. "Raised 
herself from fifteen per in the chorus to five thousand a 
year." 

"What nationality?" I asked, trying to fit Lillian's 
blonde locks and dainty features into the keeping of sev- 
eral countries, neglecting to credit Sweden, where the 
credit belonged. 

"She's taking care of a sick brother; has him in a 
sanitarium ; besides that, she's paying for her house," 
Mr. Bunny concluded, carefully stamping an inch of cig- 
arette into the sand. He waded out into the ocean ; im- 
mediately it arose about eighteen inches, and when the 
waters had calmed, I ventured into them. 

At the end of twenty minutes, Lillian could be 
sighted swinging her feet over the side of the raft ; in ten 
more minutes she was out on shore. Mr. Bunny admon- 
ished, "Now hustle, girls !" and in a quarter of an hour 
we were waiting for him at the bath-house door. 

He came in a few minutes and bought us deliciously 
fresh sea-foam candy, respective packages of sugared 
pop-corn, something hot to drink and then telephoned the 
studio in the hope that there would be no further Bunny 
or Walker scenes. There was one of the latter, however, 
and he laughed a typical Bunny laugh as he repeated 
Director Baker's query, over the phone : "I suppose Miss 
Walker is all made up, isn't she?" "Yes — down here at 
the beach, swimming!" Mr. Bunny gently informed him 
so Mr. Baker gave him twenty minutes in which to rush 
her back to the studio. And we rushed, faithfully, first 
through Coney Island's main street, where both Mr. 
Bunny and Miss Walker received numerous greetings, 
and then out Ocean Parkway's perfect drive and studio- 
wards. 

"Well, young lady, how'd you like the ocean?" Mr. 
Bunny asked, as he paid the driver his fare. I answered, 
"Fine!" "Thought you would," Mr. Bunny replied, as 
he started across the yard in answer to a summons from 
Tefft Johnson and a group of other men. 

I sought out Mr. Spedon to help me in the quest of 
a small hoy upon whom I could bestow the generous re- 
mains of sea-foam candy and sugared pop-COrn, and the 



small boy being forthcoming, I said good-bye to a big day 
at the Vitagraph studio — and elsewhere. 

From my hotel that night I wrote a note of thanks 
to Mr. Bunny — it was just about the time that Lillian 
Walker was "trotting" on a boat where a little army and 
navy party was in progress. A pretty girl, Miss Lillian, 
and a pleasant one. 



All Eyes Are on Kinemacolor 

There has been some difference of opinion among 
exhibitors on the question of whether Kinemacolor affects 
the eye. Some aver that it does, others are just as posi- 
tive that it does not. 

Felix Feist, of the Kinemacolor forces, offers the 
following to set at rest any captious criticism of Kinema- 
color projection and its influence and affect on the eye. 

"If Kinemacolor affected the eyes, I'd be stone 
blind," says Mr. Feist, "as I have frequently looked at it 
for ten hours in one day, during the past two years. Our 
operators who look at it constantly have never com- 
plained. Our inspectors, who view every inch for color 
reversals, have never had any affections of the eye. 

"It is a well known fact that the glaring white of snow 
covered expanses in the far north produce snow blindness. 
Men working in pitch-black mines under artificial light 
are frequently blinded for daylight work. This is due 
to the absence of color. 

"The natural coloring of the trees, sky, water, earth, 
animals, etc., afford a relief to the eye. People under 
treatment for eye trouble in the big cities are ordered to 
the country. Why ? To get away from the glare of the 
buildings in the sunlight. To get out where nature does 
the coloring and relieves the eye. 

"Kinemacolor relieves the eyesight. It furnishes to 
pictures the colors of nature. Kinemacolor projection is 
new. Natural colors on the screen are so different from 
the ordinary pictures that the viewer wishes to see every- 
thing at once; to see if all the objects on the screen are 
really correctly colored. The result is that the eyes roam 
all over the screen instead of being focused on the action, 
as the patrons have learend to do with the black and 
white pictures. 

"Try rolling your eyes around when looking at a 
bare wall in daylight and you'll get eyestrain without any 
trouble. When you go to see Kinemacolor don't try to see 
everything at once. Give your attention to the action of 
the picture, enjoy yourself, don't try to find an error in 
the coloring. The colors are all right, they are nature's 
colors, photographed as they actually appear ; we do not 
add anything or take anything away, so they must be 
right. 

"When people accustom themselves to looking at 
natural color moving pictures, as they did accustom them- 
selves to look at black and white ones, this foolish idea 
of eyestrain will he forgotten, because it is a foolish 
idea. 

"I'd like to see Motographv tell its readers this, as 
we believe some exhibitors have brought up the question 
and it is impossible for us to write each one of them per- 
sonally." 

Magazine Story Dramatized 
"The Scapegoat," a story by Lloyd Osborne, is 
being produced in two reels by the American Film Manu- 
facturing Company. From the interest and enthusiasm 
displayed by the leading man. Warren Kerrigan and his 
supporting cast, the picture promises an unusually suc- 
cessful run. 



July 12, 1913 



MOTOGRAPHY 



"Tapped Wires" a Real Feature 

Story of Unusual Human Interest 



AS a rule the film manufacturer in producing a two 
reel feature, a picture which is to be later released 
as a "special" and which is heavily advertised and 
played up, selects his star players to interpret the lead- 
ing roles and chooses an unusually thrilling and exciting 
theme for the story. In producing "Tapped Wires," the 
feature release of Monday, July 21, the Essanay Com- 
pany has entirely broken away from this custom, how- 
ever, and two lads, neither probably over twelve or four- 
teen years old, are seen as the leading players in this 
little drama of real human interest. 

There is nothing forced or spectacular about the 
entire production, and the action flows evenly along to- 
ward a natural climax that will hold and grip any au- 
dience witnessing the picture. The human interest ele- 
ment is always present , and one has the impression of 
looking at a little slice of real life, taken almost at hap- 
hazard from the busy, teeming daily routine of a big 
city news bureau. The reviewer can scarcely recall wit- 
nessing a more realistic little drama, one in which all the 
action was so absolutely natural, nothing being forced 
or arranged for effect alone. 

Though a number of the well known Essanay play- 




Caring for the Injured. 



ers enact leading roles in the two reel production, all the 
action of the little drama centers about the two young- 
sters who were practically without previous experience, 
and consequently appear in every scene as just what they 
were — likeable, vigorous youngsters, such as one sees 



every day in similar positions in downtown offices. If 
both these lads can remain as unaffected, natural and 
free from a desire to play to the camera, as they did in 
"Tapped Wires," the Essanay Company should be able 
to develop them into sterling young players, whose pop- 
ularity with the public is certain to be great. 

Two or three of the scenes in the drama were filmed 




Sending the Wreck Story. 

apparently along the bank of the Chicago river, one of 
them at least being in the downtown portion of the city, 
and all of them were so prettily tinted, so excellently 
photographed and form such distinctive and interesting 
backgrounds that they will long be remembered. It is 
to be hoped that the Essanay Company will give us 
more of a similar sort of scenes or backgrounds in fu- 
ture plays, for it is all too seldom, nowadays, that one 
sees such convincing pictures of life as it really is, and 
not as the director imagines it to be. 

The plot of "Tapped Wires" runs briefly as follows : 
Mike and Sam, in the employ of rival news serv- 
ice corporations, are natural enemies, and never a day 
passes that they are not in a rough and tumble quarrel. 
Mike's ambition is to become as good an operator as his 
friend, Red Keogh, and Red, realizing the latent spark 
of ambition buried in the boy's heart, takes a deep inter- 
est in him and instructs him in the art of telegraphy. 
Mike is a loyal little fellow, and every time they "put 
one over" on the rivals, the Coast Service Company, his 
heart is bubbling over with loyalty. 

In the office of the Affiliated Service, there is a mys- 



MOTOGRAPHY 



Vol. X, No. 1 



tery. It seemed that every big "scoop" they got was re- 
ceived simultaneously in the Coast Service Office, and, 
the natural conclusion was that there was a leak some- 
where. Where it was, they had not been able to dis- 
cover. 

One night, after the last news had come over the 
wire, Mike makes a hurried exit from the office, and in 
the corridor, meets Sam, his rival. Words are hurled 
vindictively by both boys and there is a rough and tum- 
ble fight, in which Mike does not exactly come out the 
victor. 

At home, his little sister, Mamie, shows him a letter 
from her aunt, inviting her to come to Waverly for a 
visit, and the next day Mike writes an article that he 
thinks will be of interest to the newspapers of the coun- 
try. "Miss maMIE TaYlor, BUTIFUL sisTer Of Mr 
miKE taYloR, of the AFFILIATED press, went aWAv 
toDay TO viSiT RelaSHuNs in WAVERLY." 

The article is not published and Mike's feelings are 
sorely hurt. 

That night, after the usual routine has been finished, 
Mike and Sam meet again in the corridor and the usual 
fight takes place. In the scramble, both boys burst into 
the Coast Service office. Sam makes a swing and Mike 
falls senseless across the telegraph table. Sam is in 
misery, as he thinks he has killed Mike, and we last see 
him at the water front contemplating suicide. 

Part two opens in the railroad office at a country 
station. Butler, an Affiliated reporter, is on the ground 



tures from his head, the spirit of the press is uppermost, 
and he takes down the message that the instrument is 
ticking out. "Waverly Express Wrecked" — "Oh! God, 
and Mamie was on that train." Brotherly love springs 
to the top, and questions and answers flash back and forth 
through the distance, Mike hearing that Mamie, his 




Tom Shirley as "Mike." 

and has a big story of the wreck that has just taken place. 
He immediately gets in communication with his office. 

The scene then shifts to the office of the Coast Serv- 
ice. Mike is coming to his senses as he hears the tick of 
the instrument. "Hully Gee! that's funny! It's the 
Affiliated call coming over the Coast Service wire." Im- 
mediately, in spite of the fact that he is suffering tor- 




The Reunion. 

little sister, has been taken from the wreck dead — and 
then we see the real loyalty of the little fellow's heart — 
broken hearted, suffering and crying, he takes down a 
complete account of the catastrophe. Then he starts 
away, but suddenly realizes that the news is coming over 
their rival's line. He destroys the connection and then 
darts into his own company's office. But in destroying 
the connection in the Coast Service office, he has also 
interrupted the service in the Affiliated office. 

In the meantime, Sam has at last made up his mind 
to confess the crime of which he thinks he is guilty, and, 
accompanied by a policeman, goes to the Coast Service 
office. Mike is not there. The janitor tells them that 
Mike is across the hall, taking down a message over the 
long distance wire. They enter, just as Red Keogh 
and the manager of the company appear. Mike is un- 
justly accused of ruining the connection, but explana- 
tions ensue which make him the hero of the company. 
And then the sunshine of God beams forth again. "Ma- 
mie is not dead." It's Butler talking from the scene of 
the wreck, and Mamie was only hurt a little. The story 
ends with Mike crying for joy and Sam realizes that 
they ought to be friends instead of enemies. 

The cast follows : 
Red Keogh, chief operator for Affiliated Press.... E. H. Calvert 

Manager, Affiliated Press Jules Farrar 

Mike Taylor, office boy of Affiliated Press. .Master Tom Shirley 

Mamie Taylor, his sister Eleanor Kahn 

Mrs. Taylor, their mother Helen Dunbar 

Frank Butler, special representative Affiliated Press 

R. C. Travers 

Manager, Coast Service Company Frank Dayton 

Sam Burns, Coast Service office boy Harry Norton 



July 12, 1913 



MOTOGRAPHY 



The Motion Picture Exhibitors' League 

of American 





General Headquarters 
703 Euclid Ave., Cleveland, Ohio 

OFFICERS OF NATIONAL ASSOCIATION. 

President, M. A. Neff, ^ock Box 15, Cincinnati, 0. ; Secretary. C. M. Christenson. 703 Euclid Ave., Cleveland, O. ; Ti ssurer, J. J. Rieder Jackson Mich ■ Vice-Presidents 
W. A. Pettis, Conneaut, 0. ; Wm. J. Sweeney, Chicago. 111. ; Ferd J. Herrington, Pittsburgh, Pa. ; B. L. Converse, Owl aa, Mich. ; F. J Eembusch Shelbyville Ind ■ E w' 
Waugh, Iluntlngton. W. Va. ; Orene Parker, Covington. Ky. ; Geo. H. Wiley, Kansas City, Mo. ; Chas. Rothschild, San 1 ;ancisco, Cal ; Sidney Asher New York N T ■ Fulton 
Brylawskl. Washington, D. C. ; L. F. Blumenthal. Jersey City, N. J.; H. C. Farley, Montgomery, Ala.; A. D. Saenger, Shreveport, La ; Thos A Brown Iowa City la" 
W. H. Wasserman, Nashville, Tenn. ; T. P. Finnegan. Dallas, Tex. ; Carl Gregg, Tulsa, Okla. ; Paul LeMarquard, Winnipeg, Can ; E F Tarbell Tampa Fla • Geo Osborn 
St. Paul. Minn.; C. H. Phillips, Milwaukee, Wis.; Geo. F. Washburn. Boston. Mass.; Glenn D. Hurst, Reno, Nev. ; E. Wayne Martin. Hutchinson, Kan : J E 'Schlank' 
Omaha, Neb.; Julius Meyers, Charleston, S. C. ; S. A. Arnold, Mena, Ark.; Hiram Abrams, Portland, Me.; 0. T. Curtis, Pueblo, Colo ■ Fred Abbley Gulfnort Miss.' 
P. S. McMahon, New Britain, Conn. ; S. T. Merchant, Providence, R. I. ; A. B. Campbell, Sedro Wooley. Wash. ' 



New Illinois Local Organized 

Illinois Local No. 3 of the Motion Picture Exhibit- 
ors' League of America was organized at Danville, Illi- 
nois, on Tuesday, June 17, by William J. Sweeney, 
treasurer, and C. C. Whelan, chairman of the executive 
committee, of State Branch No. 2. Much enthusiasm 
was evident among the exhibitors of Danville and 
vicinity and after forming a temporary organization 
they proceeded to elect the following officers : J. D. 
Quirk, Areola, president; Dr. C. H. Evans, Danville, 
vice-president ; and J. W. Dillon, Danville, secretary and 
ttreasurer. The gathering finally adjourned to meet 
again at Danville on Sunday, June 29, when the organi- 
zation was completed. 



Oklahoma Elects Delegates 

The Oklahoma state branch of the League of Motion 
Picture Exhibitors elected delegates to the national con- 
vention late Tuesday afternoon, June 17. The conven- 
tion was held at the Lee-Huckins Hotel in Oklahoma City 
and nearly 200 delegates were in attendance. 

Following are the names of the delegates elected to 
attend the New York convention : Carl Gregg of Tulsa, 
William Smith of Tulsa, L. W. Brophe of Muskogee, T. 
H. Boland, manager of the Empress theater, of Okla- 
homa City; Miss Amelia Hunter of Ardmore and W. L. 
Bumpas of Duncan. 

Another meeting of the state league has been called 
to be held in Tulsa October 29 and 30. Practically no 
business except election of delegates was transacted at 
this meeting, which was adjourned Tuesday night. 



Exposition Notes 

Friday afternoon, July 11, has been set aside by the 
Vitagraph Company of America for the reception of 
guests of the Motion Picture Exhibitors' League who 
wish to visit the studios and inspect its plant, where a 
cordial welcome will be extended. The banquet and re- 
ception of the Motion Picture Exhibitors' League will 
probably be held at the Brighton Beach Hotel, Brighton 
Beach, in the evening. After visiting the Vitagraph stu- 
dios the visitors can take the Brighton Beach railroad at 
the Elm Avenue station at any time, reaching the Brighton 
Beach Hotel in ample time for the evening's festivities. 



S. M. Spedon, publicity and advertising manager of 
the Vitagraph Company of America for a long time, 
one of the oldest in point of service and best-known pub- 
licity man in the moving picture business, has been ap- 
pointed honorary chairman of the publicity committee of 
the First International Exposition of the Motion Art. 



Mr. Spedon's post is intended to convey an appreciation 
of the work he has done for the moving picture business 
in general. 



On Wednesday evening, July 9, the Vitagraph play- 
ers will visit the exposition held in Grand Central Pal- 
ace, where they will be pleased to meet all their friends 
and greet those who may wish to know them personally. 
This evening has been appointed by the Vitagraph play- 
ers, so that those desiring a personal introduction may be 
assured after their presence at the exposition. 

League Members to "Romp" 

The Universal Film Manufacturing Company will 
entertain the members of the Motion Picture Exhibitors' 
League of America on July 7 with a visit to the Eclair 
studio at Fort Lee, N. J., and later the same day with a 
"romp" at Palisades Amusement Park. The visitors will 
be conveyed from Manhattan in sight-seeing automobiles 
to the studio, and after a few hours spent there, they will 
motor to the park where the Messrs. Schenck have ar- 
ranged special features for them. A water carnival will 
be one of the features, which will give the visitors an op- 
portunity to display their accomplishments as divers and 
swimmers. A dinner will be served in the main dining 
hall and the evening will find the party in the ball room 
or the Rustic theater where an excellent array of vaude- 
ville talent will be seen. 



Delaware Exhibitors Meet 

The Delaware branch of the Motion Picture Ex- 
hibitors' League of America held a meeting in the Hotel 
Du Pont, in Wilmington, the afternoon of June 20. 

The meeting was well attended, and matters of in- 
terest were discussed. The members talked over the 
matter of attending the convention of the league which 
will be held in New York. About five or six of the 
members have signified their intention of attending the 
convention. 



Arkansas Holds Convention 

The first annual meeting of the Arkansas Branch of 
the Motion Picture Exhibitors' League of America closed 
on June 20 with the various committees finishing up 
the details of the session. The meetings were held in the 
auditorium of Hotel Marion in Little Rock. Officers 
of the organization expressed gratitude over the good 
beginning of the association, which was organized last 
February. Although not nearly all of the motion pic- 
ture exhibitors of Arkansas have become members, the 
start bespeaks a promising outlook for the coming year. 

Secretary D. A. Hutchinson of Lonoke said that 



10 



MOTOGRAPHY 



Vol. X, No. 1 




Scene from "Put to the Test," Selig Release of July 17. 



several new members filed their applications during the 
convention. He declared that the Arkansas branch will 
have 200 members within six months. The time and 
place for holding the next annual meeting was left to be 
decided by the executive committee, probably at a mid- 
winter meeting. 

The morning session was devoted to the social fea- 
ture of the meeting and concluded with a luncheon at- 
tended by all the members of the league. 

During the afternoon a business session was held 
when plans were made to send S. A. Arnold of Mena, 
national vice-president for Arkansas, to the national con- 
vention of moving picture exhibitors in New York, July 
5 to 12. 'Several new members were received, and offi- 
cers spoke enthusiastically of the work of the Arkansas 
branch, which has for its object the development of the 
motion picture business in Arkansas, and the uniform 
equipping of theaters to reduce the fire hazards. 

During the convention it was decided to hold the 
state meetings in the summer, and the constitution was 
amended to make the present officers hold until their 
successor is dec led, which means a year from now. The 
officers of the Arkansas branch of the national organiza- 
tion are : President, C. A. Bandy, manager of the Colon- 
ial theater, Argenta; first vice-president. II. S. White, 
England ; second vice president, Hoyt Kirkpatrick, Fort 
Smith; secretary, D. A. Hutchinson, Lonoke; treasurer. 
E. H. Butler, Russellville. 

Speaking of the first annual session of the picture 
exhibitors of Arkansas, C. A. Bandy, manager of the 



Colonial theater in Argenta. who is president of the 
Arkansas organization, said : 

"With our small beginning at the February meet- 
ing when we organized, and the short history of the Ar- 
kansas branch, the meeting was successful in every 
way. Many new members were obtained, and all have 
gone to their homes enthusiastic about the development 
of the motion picture business, especially with reference 
to minimizing the theater fire risk. The organization is 
working for a uniform equipment, and the members are 
taking up the task with a zest which is encouraging. We 
expect to cover the entire state during the fall and win- 
ter, and enlist the co-operation of every exhibitor in mak- 
ing the organization beneficial. The international expo- 
sition of motion picture art. in conjunction with the third 
annual convention of the Motion Picture Exhibitors' 
League of America to be held in New York city July 
7 to 12 will be an interesting study. We expect S. A. 
Arnold, our national vice president, who will represent 
the Arkansas branch, to bring back much in formation 
about the industry which will be of value to the showmen 
in Arkansas." 



Minnesota Elects Officers 

The second annual convention of the Minnesota 
State Branch of the Motion Picture Exhibitors' League 
of America was held at the Radisson Hotel, in Minne- 
apolis. The convention was called to order by State 
President Otto N. Raths. After divine invocation by 
the Rev. G. L. Merrill an address of welcome was made 



July 12, 1913 



MOTOGRAPHY 



11 



by Hon. Wallace G. Nye, mayor of Minneapolis, to 
which a fitting response was made by President Raths. A 
short time was devoted to routine formalities, such as 
roll-call, reports of officers, committees, etc. 

The election of officers took place, with results as 
follows : President, Otto N. Raths, manager of the 
Gaiety Theater, St. Paul, elected by acclamation ; vice- 
president, L. Robbins, Winona; secretary, G. T. Sharp, 
Minneapolis ; treasurer, H. A. Sherman ; national vice- 
president, Thomas Furniss, Brunswick Amusement Com- 
pany, Duluth ; sergeant-at-arms, F. W. Boll, Northfield. 

Executive committee — C. E. Van Duzee, chairman ; 
John Christopherson, Benson ; John W'entworth, Spring 
Valley, and H. A. McLean, Virginia. 

Delegates to national convention at New York — 
E. A. Nelson, Duluth ; S. L. Rothapfel and D. W. Cham- 
berlain of Minneapolis. 

At the conclusion of the session a banquet took 
place at the hotel under the auspices of the league. Two 
hundred guests were present and a very successful and 
enjoyable function it was. 

Prominent among the speakers of the evening were 
Rep. Nolan, representing Mayor Herbert B. Keller of 
St. Paul, who stated that as long as he was in the Sen- 
ate the exhibitors need not fear anything from his vote. 
Otto N. Raths, retiring and also the new president of 
the league, thanked all the members for their co-opera- 
tion, as did Thomas Furniss, national vice-president of 
the league. Mr. Hall of Minneapolis spoke of the nu- 
merous advantages afforded by moving pictures, and told 
the exhibitors they were undertaking a work of art. Last 
but not least was the Rev. G. L. Morrill. 



Maine Is Organized 

L. R. Thomas, national organizer of the league, 
called to order the first state meeting of the Maine 
State Branch of the Motion Picture Exhibitors' 
League of America at the Falmouth Hotel, Portland, 
Maine, on Monday, June 23. The convention was at- 
tended by some twenty-five interested exhibitors and im- 
mediately proceeded to elect officers, the result of the 
balloting being as follows : 

National vice-president, Hiram Abrams, Portland 
Theater, Portland; president, Moxley Blumenberg, Port- 
land ; first vice-president, F. J. Fortin, Lisbon Falls ; sec- 
ond vice-president, J. A. McConville, Portland ; secre- 
tary. J. A. Emery, Star Theater, Bar Harbor; treasurer, 
J. W. Greeley, Portland; sergeant-at-arms, A. P. Bibber. 
Lewiston. 

Delegates to National Convention — Arthur A. Allen, 
A. B. Rosenberg, J. W. Greeley, F. E. Mortimer, J. E. 
Emery. 

Alternates — Fred M. Engley, Samuel Davis, A. St. 
Ledger, M. St. Ledger, I. M. Mosher. 

Committee on Constitution and By-Laws — Hiram 
Abrams, Moxley Blumenberg and J. W. Greeley; all of 
Portland. 



Michigan Convention 

A meeting of the Michigan Exhibitors' League was 
held at Saginaw, Mich., the sessions of the convention 
taking place in the Vincent Hotel and a large number of 
exhibitors were present. Several interesting business 
sessions were held and the members enjoyed the sights 
of the city between meetings. Officers for the ensuing 
year were elected as follows : 

President, Peter J. Jeup, Detroit ; first vice-presi- 



dent, J. J. Rieder, Jackson; second vice-president, Fred 
Richter, Muskegon ; third vice-president, J. P. Thatcher, 
Bay City; secretary, J. B. Caldwell, Battle Creek; treas- 
urer, Herbert Fowser, Lansing; national vice-president, 
J. M. Neal, Saginaw. 

Delegates to the National Convention in New York 
— E. M. Smith, Grand Rapids; August Kliest, Pontiac; 
and Peter J. Jeup, Detroit. 

The next state convention will be held at Battle 
Creek at the call of the secretarv. 



To Entertain Lavishly 

As the opening of the New York exposition and 
convention draws near plans for the entertainment for 
the visitors are taking shape. The General Film Com- 
pany has made a substantial cash contribution toward the 
expense of staging the big banquet which will be the 
feature of the week. Certain of the manufacturers 
whose products are handled in General Film service are 
planning to entertain the exhibitors in various ways as 
previously announced. 

The General Film booth will be one of the garden 
spots of the exposition. The design calls for a reproduc- 
tion of the view looking up the Hudson River from West 
Point and the beauty of the landscape is being trans- 
ferred to canvas by one of the best known scenic paint- 
ers in the city. . The foreground will show a regulation 
army tent and army "furniture," set in a verdant bower 
of natural greens, the whole giving an unusually cool and 
pleasant effect. The booth will form an artistic back- 
ground for the prominent photo-players who will be in 
attendance during the week. Monday will be Biograph 
day and in the evening exhibitors and the public will 
have an opportunity to meet the players who have been 
their favorites so long but who until recently existed as 
unnamed personages. Tuesday is Kalem day and Kalem 
players will be much in evidence. Wednesday has been 
set aside for the Vitagraph Company ; Thursday for 
Lubin and Pathe ; Friday for Edison and Saturday for 
the Chicago manufacturers — Essanay, Kleine and Selig. 
Throughout the week the pick of the products of the 
licensed manufacturers will be exhibited in the General 
Film theater. Attractive souvenirs will be distributed 
from day to day. 

This is the first concerted effort ever made by the 
General Film interests to round up their players and 
the best films in which they have appeared, which is in 
itself a promise that what will be offered at the exposi- 
tion will be worth going a long way to see. 

Recent Edison Kinetoscope Installations 

Two Underwriters' Model "B" machines to General 
Film Co., New Orleans, La. ; 1 Underwriters' Model "B" 
machine to E. K. Lyon, Lexington, Ky., through the Gen- 
eral Film Co., Cincinnati, Ohio; 6 Exhibition Kineto- 
scopes to Kleine Optical Co., Chicago, Ilk; 1 1913 Model 
"B" machine to the General Film Co., Denver, Colo. ; .1 
1913 Model "B" machine to the General Film Co., Kansas 
City, Mo. ; 3 Model "B" machines to the Kansas City 
Machine & Supply Co., 813 Walnut St., Kansas City, 
Mo. ; 2 Improved Exhibition Model Kinetoscopes to Kan- 
sas City Machine & Supply Co., 813 Walnut St., Kansas 
City, Mo. ; 2 Improved Exhibition Kinetoscopes to the 
Talking Machine Co., 1916 Third Ave., Birmingham, 
Ala. ; 1 Improved Exhibition Model Mechanism to the 
Kansas City Machine and Supply Co., Kansas City, Mo.; 
1 Underwriters' Model "B" machine to W. H. Swanson 



12 



MOTOGRAPHY 



Vol. X, No. 1 



Film Co., Denver, through the Universal Film Mfg. Co., 
New York City; 2 1913 Model Kinetoscopes to B. E. 
Huddleston, Gem Theater, Montgomery, W. Va. ; 1 Im- 
proved Exhibition Kinetoscope to the R. D. Thrash Film 
Co., Galveston, Texas, through the Talking Machine Co., 
1916 Third Ave., Birmingham, Ala. 




Mace Has Japanese Star 

Tsueu Aoki, a Japanese girl of Los Angeles, Cal., 
is the leading woman of Fred Mace's Majestic Company. 
A talented actress is the little Jap and the genial Fred is 
making the most of the opportunity thus afforded him 
to produce a series of films that will attract especial at- 
tention in the film world. 

Miss Aoki is descended from a family of actors ; her 
aunt is the distinguished Sadie Yacco who was declared 
a genius at acting by the "Divine Sarah." Her father 
possessed the artistic quality to the extent of winning a 
reputation in Europe and this country as a painter. It 
was he who designed "Madame Butterfly" and "The 




The Japanese Star with Fred Mace. 

Mikado," for which he was decorated by Queen Vic- 
toria and given the degree of B. A. 

It is Miss Aoki's idea to form a company of her 
own and return to Japan to take a series of pictures for 
American patrons which, she claims, will be a treat in 
artistic back-grounds as it is her opinion that Americans, 
so far, have not seemed to grasp the value of artistic set- 
tings for motion pictures. 

Through the death of her uncle, Kawakami, Japan's 
greatest actor, Miss Aoki, together with her aunt, Sadie 
Yacco, fell heir to the Imperial theater at Osaka which 
was built by Kawakami at a cost of $100,000 for the pur- 
pose of producing his own plays and those of Shake- 
speare played by Sir Flenry Irving. The theater is the 
largest in Japan. For the present Miss Aoki will do 
nothing about her interest in it, as in Japan she would 
not yet be of age, so she intends to work on in this 
country where she is of age. "Here I am going to stay 
until I've done that which will make even Mme. Yacco 
take notice," she declares. 



That the "Spirit of 76" has not died was proved at 
Proctor's 5<Slh Street Theater, New York City, when 
"Nathan Male" was reincarnated in Kinemacolor. Dur- 
ing the scene where the Continental troops parade, headed 
by a fife and drum corps as in Willard's famous painting, 
the theater orchestra played patriotic airs, and the whole 
audience arose and cheered heartily. 



NEW ORLEANS, Louisiana, was the birthplace of Robert 
Ruben Levy, vice-president of Illinois State Branch No. 2 
of the Motion Picture Exhibitors' League of America, and either 
on account of that fact, or perhaps in spite of it, Mr. Levy has 
become one of the most successful exhibitors of motion pictures 
in the Middle West. When he was 
but five years of age his parents 
moved to Chicago and there Rob- 
ert obtained his schooling. Some 
time afterward he might have 
been found conducting a station- 
ery business as the representative 
of several high-class lines. About 
this time also he became associ- 
ated with John N. Dubach as a 
contractor and builder of apart- 
ment houses in the Hyde Park 
district of Chicago. Mr. Levy 
built and still owns and manages 
the Revelry theater, located at 342 
East Forty-seventh street. He at 
one time was in charge of the 
Apollo theater, a vaudeville house 
with a seating capacity of 700, and 
one of the first neighborhood 
theaters to play really high class 
acts, some of them receiving as 
much as $800 per week. Not long 
ago he gave up the Apollo to 
devote all his time and energy to the Revelry. He was formei 
chairman of the executive committee, and is now vice-president 
of Illinois State Branch of the M. P. E. L. of A., besides being 
a member of the Elks Lodge No. 4 of Chicago, the Hamilton 
Club, the Illinois Athletic Club, the North American Union, 
Chicago No. 4, Olympia Lodge No. 864, A. F. & A. M., Auburn 
Park Chapter No. 201 and Palestine Council. He is also a 
member of David Fish Lodge No. 130, I. O. B. B., and county 
central committeeman of the Third Ward Republican Club. Mr. 
Levy also assisted in defeating the minor-attendance ordinance. 




HIRAM ABRAMS, national vice-president of the M. P. E. L. 
of A. from Maine, has worked his way upward in the 
theatrical game within a comparatively short period, and seems 
to have by no means reached his limit yet. Born and raised in 
Portland, Maine, he early in life became a jobber of Victor 

talking machines. Though mak- 
ing a decided success of this busi- 
ness, Mr. Abrams soon opened 
the first Boston film exchange in 
that city, and for more than a 
year gave it his sole attention. 
Gradually he began to acquire 
theaters and soon found himself 
the owner of the Dreamland in 
Boston, the Dreamland in Bath, 
the Johnson Opera House and 
Coliseum in Gardiner, and the 
Farwell Opera House in Rock- 
land. A few years later he be- 
came associated with and a stock- 
holder in the W. E. Greene Film 
Exchange oi Boston, and still 
continued to acquire theaters. 
The Portland theater in Portland, 
the Keith Hippodrome and houses 
in Gloucester, Beverly, Webster, 
Westboro, Bristol, New Bedford. 
Brockton, Melrose and Clinton 
were added, until at the present 
time he is interested in some twenty-one theaters. Besides being 

one of the most popular members of the Exhibitors' League in 
Maine and national vice-president From the Pine Tree state. 
Mr. Abrams is also a member of the Masonic Lodge, the Elk's 
Lodge, the Knights of Pythias Lodge and the United Commer- 
cial Travelers of America. Though his beginning in the the- 
atrical field was very modest and tiny, he was able to add year 
|,v year to his holdings, till today he is compelled to handle a 
tremendous amount of work in order to properly and success- 
fully superintend and direct his many and varied enterprises. 




July 12, 1913 



MOTOGRAPHY 



13 




Scene from "Honor Thy Father," a coming Kleine-Cines feature. 

"Honor Thy Father" 

A Thrilling Cines Feature 



"Honor Thy Father" is the title of a Cines two- 
reel subject to be released July 25. The central thought 
swings about the absorbing love of a father for his 
daughter and a mother's love for her son. The story, 
however, has many unique and unusual features. There 
are some splendid touches of sensationalism in the abduc- 
tion of the heroine and the thrilling escape of the hero 
who, bound hand and foot, in a dungeon, works himself 
free and by an ingenious method of carrying away the 
masonry, effects his own rescue. 

The photography, as usual, is good, with that bright 
contrasting effect so familiar to Cines picture lovers. 
The tinting and toning are beautiful. 

According to the story, Count Castel, a frail old 
nobleman, is extremely fond of his daughter Marie, who 
assists him in his business. The Count's wife, however, 
gives but little maternal affection to Marie, but lavishes 
her great love on a ne'er-do-well son. Count Castel has 
neither faith nor affection for his dissipated son. 

Charles, the son, goes to his mother for money. She 
pleads with the father, who finally loses patience and 
casts the son off. The Count dies after making a will 
and leaving his entire fortune to Marie. To further guar- 
antee the execution of his wishes, the Count on his 
deathbed extracts a solemn oath from Marie that she 
will never allow her mother or brother to obtain control 



of the money. Time passes, and Paul Oddie, a mining 
engineer, rents the Count's property and begins opera- 
tions. He and Marie are thrown together a great deal 
and love comes. Meanwhile, Charles is again in finan- 
cial trouble and forms an alliance with a scheming banker 
named Samuels, the result of the compact being that 
Charles is inveigled into guaranteeing a number of out- 
standing liabilities. The bank smashes and Charles., in a 
desperate effort to save his name, visits his mother. 
These two, in company of Samuels, call upon Marie, 
whom they find under a doctor's care. She steadfastly 
refuses to act against her father's dying wishes and as 
a last resort the trio determine to drug her. Marie over- 
hears the plot and in desperation flees from the house, 
wandering for hours through a heavy forest, toward 
the scene of the mining operations, where she finally 
collapses. Paul finds her and takes her to the home of 
his mother. 

In the meantime frantic search is made for the mis- 
sing girl and she is eventually located. Thugs, hired 
by Samuels, forcibly enter the house and transport her, 
bound hand and foot, back to her home. Paul is then 
rounded up, set upon, beaten, tied and placed in a de- 
serted house. With returning consciousness, he tears 
the bonds, makes an opening and effects a daring escape 
by climbing down a rope into a dangerous pit. He hur- 



14 



MOTOGRAPHY 



Vol. X, No. 1 



ries to the home of Marie, who, worn out by the long 
fight, cajoled, threatened and brow-beaten, is about to 
sign away the property. With a dozen of his trusty 
men, Paul captures, the trio and turns them over to jus- 
tice. The lovers marry and happiness comes to Marie 
at last. 



in Paris, Berlin, Vienna, Moscow, Turin, Barcelona and 
Sydney, Australia. 



"Quo Vadis?" Publicity 

Never in the history of cinematography has any 
moving picture received the world-wide attention of the 
press, as in the case of "Quo Vadis?" The Chicago 
headquarters of George Kleine are fairly inundated with 
requests from great newspapers, press syndicates and 
magazines for still pictures and information concerning 
the making of "Quo Vadis?" For instance, the St. Louis 
Post Dispatch in its issue of Sunday, June 8, devotes 
two entire pages to the great spectacle and the Dispatch 
is only one of the many great dailies that are constantly 
calling for "dope." Mr. Kleine is certainly to be con- 
gratulated on the enormous success of his master film, 
and the entire business of picture making has been ele- 
vated to a higher scale in the minds of newspapers and 
the people as a result. 



Kansas City Film Popular 

George B. Forsee, industrial commissioner of the 
Commercial Club, has closed a contract with a motion 
picture booking agent to have the Kansas City trade pic- 
tures shown in 100 motion picture theaters, commencing 
in ten days. They will be shown in fifty Kansas City 
theaters, in each one on a different night. 

Requests for the pictures have come from Merriam 
and Newton, Kans. As many as sixty-five picture show 
proprietors have asked for them. 

"These reels are attracting a good deal of attention 
over the country," Mr. Forsee declares. "They are prov- 
ing a big advertisement for Kansas City." 

Alvin B. Giles, advertisng director of the Advance 
Motion Picture Company, who took the Kansas City pic- 
tures, says his camera man is taking more pictures of 
Kansas City. He is specializing on the parks, boulevards 
and apartment houses. 



More Mary Films Coming 

The Edison Company announces another "Mary" 
series entitled "Who Will Marry Mary?," which is to be 
run for six months. The first story, "A Proposal from 
the Duke," released July 26, tells the story of "Mary's" 
adventures with an impecunious duke. As she is now a 
millionairess it is natural to suppose that she will he 
sought after by men of various stages and ages — the 
duke is the first. Mary Fuller, to whose personal charm 
the "What Happened to Mary" series owed a great 
measure of its success, continues in the leading role with 
many prominent Edison players in support. 



Ramo Establishes Foreign Agency 

C. Lang Cobb, Jr., manager sales and publicity of 
Ramo films, announces that he has just completed ar- 
rangements and signed contracts with the General Film 
Agency, Ltd., of London, England, Eor the distribution 
of Ramo films in Europe and the continent. E. 
Seville Williams, managing director of the General Film 
Agency, has been in Xcw York for the past ten days 
COnsumating this deal. Mr. Cobb has done will in con 
tracting with this agency, inasmuch as they will handle 
no other American product through their various offices 



Photoplay wright's Banquet 

With writers present from Chicago. New York, 
Pittsburgh, Toronto. Canada. Akron, Ohio and several 
cities adjacent to Cleveland, the first photoplay wrights' 
dinner of the Central West scribes was held at the Ho- 
tel Euclid, Cleveland, Ohio, Saturday evening, June 28. 
About fifty persons were in attendance, and the dinner 
was by far the most successful of any yet held in any 
part of the country. 

A. W. Thomas, formerly associate editor of the 
Photoplay Magazine, Chicago, and now editor-in-chief of 
the Photoplay Clearing House, Brooklyn, acted as toast- 
master. The tables were tastefully decorated with flow- 
ers and everybody enjoyed the program and speeches 
made by the various guests and writers. 

Maibelle Heikes Justice, of the Selig Polyscope 
Company, Chicago, was unable to be present on account 
of a sudden illness, but wired her regrets and later sent a 
letter which was read to the diners. Miss Justice, in 
her letter, conveyed greetings from the Essanay and 
Selig studios to the Cleveland writers. K. G. Cloud, 
manager of the Photoplay Magazine, Chicago, and his 
brother, Arthur D., were among the guests and the lat- 
ter made a neat little speech about the photoplay busi- 
ness. R. A. Magee, of Toronto, Canada, and Professor 
C. F. Ames, of Akron, Ohio, were also speakers of the 
evening. 

A number of dramatic and comedy films were shown 
during the evening, the stories of the films having been 
written by A. W. Thomas, Maibelle Heikes Justice. Mary 
Blanchard, Aaron Bishop, Dr. Jean Dawson and others. 
Those present who registered were C. F. Ames and wife, 
Akron, Ohio; R. A. Magee, Toronto, Canada; K. G. and 
A. D. Cloud, Chicago; H. Gowans. Pittsburgh. Pa.; A. 
W. Thomas, Miss Mary Blanchard, Dr. Jean Dawson, 
Aaron Bishop, A. P. Anthony and wife ; Samuel Lustig, 
president of the Columbia Film Company, and wife; E. 
H. Painter, assistant manager of the General Film Com- 
pany, and wife ; S. R. Morris, secretary of the Colum- 
bia Slide Company, and wife; Geo. H. Scott and wife; 
Mrs. M. Cowan. Wm. Butz, Geo. Bolton, H. Garnett, 
Mrs. R. Blanchard. R. Randal and wife. Stephen W. 
Humble, Edith V. Considine. S. Wilk and wife. R. J. 
Woodruff, Cleveland. A number of others, arriving 
late, did not register, among them being May Buckley, 
late leading woman of the Lubin Company; Jack Hal- 
liday, an old picture player, and Tom Powers. Vita- 
graph comedian. The exhibition of the films was in 
charge of A. 1\ Anthony, of Cleveland, who "put on 
the show" in a most creditable manner. 

The success of the first dinner has already started 
agitation for another to he held during the coming fall. 
That many desired to attend but were unable to do so 
on account of various matters was sh,,wn by the tele- 
grams and letters received and read to the banqueters. 
Messages were received from the following : Eugene 
Brewster, editor o\ the Motion Picture Story Maga- 
zine, Brooklyn; Neil G. Caward, editor MEotography, 
Chicago; IX F. Burkehardt, W. J. Burns' assistant 
Cleveland manager, from Indianapolis; Miss Cora Drew, 
Boston; C. lloerr l)e Packe, Xew York City; William 
Lord Wright, Moving Picture News, New- York City; 
Clarence A. Frambers, president of the Chicago Photo- 
plavwrights' Club; R, P. Stoddard. Bridgewater, N. Y. ; 
R. 11. Fredericks, Ashland, Ohio; W. D. Clark, Colum- 
bia Theater. Marion. ( )hio; Will T. Henderson, Chicago; 
( '. Merriam. Marion, Ohio. 



July 12, 1913 



MOTOGRAPHY 



15 



On the Outside Looking In 

By the Goat Man 



I'LL HAVE to join the delegates and go to Gotham 
town and meet Frank Tich'nor face to face and stand 
for Trigger's frown. These mighty men I'm warned 
to dodge to save my shallow bean, but greater dangers far 
than these I've met before, I ween. The show that 
prompts me thus to leave the haunt of daily grind is of- 
fered as a safe retreat for those of feeble mind, but even 
so, I'll take along an ample body guard of other loyal 
scouts and goats, recruited from my yard. There's Twist 
and Doud and Meaney, too, a trio hard to beat ; and Day 
and Nehls and Levy, Bob, will trot 'em all a heat. I've 
added Rock — a Johnnie Boy, who forms a flying wedge 
with Balaban and Whelan — two chaps who never hedge. 
Choyinski, too, will join the bunch and when he hits 
New York they'll have to dig the victuals up — please 
never mind the fork. John Miller's going down, they 
say, and take his swimming clothes and when he hits 
the ocean we shall all forget our woes. The gang who 
travels east with me will number many score and you 
can bet they'll know we're there when we let out a roar. 
Our program as we go along will surely let you know that 
we're for William Sweeney and a snappy three-reel show. 

* * * 

I wonder whether Turn-on-the-Fan Willis will be 
there. Great mint julep weather. 

* * * 

Bill Bell, the man who put the will in Williams, is 
back from Australia. Bell tells me that all the films in 
the world find their last resting place on Kangaroo island 
— that when the natives see them there, that ends 'em. 
Funny they'd slide down to the other end of the earth 
like that. I wonder who'll charter a ship and bring 'em 
back. 'Gene Cline and Get-'em-an-Injunction Lewis 
would eat that stuff alive if they could get it past the 
customs. 

^ ^ ^ 

You know they call him Doc. Willat but do you 



r*Tif r i w ysB 


j^$P^ 


* 


j^ h 


?jpft^B 


An 


' 


■ ■ ..Z^ 


H^^a^^JPH 



Mr. and Mrs. Hutchinson, of the American Film Company, at the Brink 
of the Volcano "Kilauea," in Hawaii. 

know where he got the Doc? Say, ask him to prescribe 
for that sick dog of yours. He's there, fellows — he's 
there with both the credentials and the dope. Doc. Willat 
is some regular doctor. 



Pop Rock has promised to release Edward George 
Hedden as a special for convention week. They are go- 
ing to decorate Nassau street for that occasion. 

Not so loud; not so loud; Paul Hernaud; Paul Her- 




Edison's wonderful picture of the International Polo Match. Captain 

Harry Paine Whitney of the American team is seen making a. smash 

at the ball while driving his pony at top speed. 

naud. His cable address is Enerphone and it's the only 
way to reach him. Use the French code. 

That wasn't the statute of liberty, you grass-eater, 
that was Clem Kerr. First thing you saw when the train 
pulled in. 

New York had Prexy Neff's little angora about the 
last week in June. Old Faithful out at Yellowstone 
had nothing on the League's president when he tore him- 
self loose in a five-page letter and wound up by saying: 
"Do the best you can with this, my boy." Sounds like 
Prexy Neff was in training for a dopster's job. (Tip to 
Bernie — no charge. ) At any rate, I gather it will be some 
regular convention. I fairly itch for the next issue of 
Motography, which is supposed to tell how it happened. 
But Prexy Neff is such a geyser when he gets to going 
good that he splashes all over. He tells me league mem- 
bers are on the way from Mexico, Australia and other 
places. Blamed if I ever heard of a Mexican league be- 
fore and if Australia has been added it is all news to 
our own Sid Smith, eh, Smithy? Don't even sound 
apropos, does it? But as I was saying, Prexy Neff has 
been pestered a lot by our long-haired friend Whistling 
Saunders, and those elegant parlors de luxe on Broad- 
way, where the poultry rushes past on the way to roost, 
may have something to do with it. Prexy says to me 
that the Grand Central Palace is the "grandest, most elab- 
orate and well appointed building" he ever saw, which 
shows how terribly fussed up he is. By the time forty 
state delegations come stringing around the corner, in- 
cluding Arizona by mail, it will be time for the cold 
towels. The Chicago towel custodian is John Rock. He 
has 'em all fixed with cracked ice. Push that fifth but- 
ton, Sid and yell "Sweeney." 

# # * 

But at that Old Prexy Neff ought to die happy. 
Believe me, fellows, he's been at work on some awfully 
rough stuff, taken as he found it. You westerners will 



16 



MOTOGRAPHY 



Vol. X, No. 1 



find that out when you have a look at the m. p. theaters 
on some of New York's cross-town streets. 

* * * 

I'm sorry Pop Daniels isn't going along. 

* * * 

Homer A. Boushey is nearly crazy. He has spent 
so much money on this show, even before they pull it 
that he fears for the worst. Hold 'em in Chicago and 
let the branches west of the lakes cough for the next 
show. We'll promise not to issue a program if you do. 

* * * 

I'm getting careless or I wouldn't have forgotten 
that Carl Ray of Muskegon had sold alibis houses in that 
town and is going to Los Angeles where he may make 
'em. Los Angeles is a bad place to get the m. p. making 
bug. But then, if Carl can't get by it will be his first 
fluke and he has that eleven carat headlight to fall back 
on. Besides if I'm careless, I've had a reason — the mark 
is on my right cheek. The other fellow wasn't hurt ! 

* * * 

Phillips Smalley tells me that his Missus will suc- 
ceed to the vacant office of mayor of Universal City. 
Hurrah for Lois Weber and woman's suffrage! What 
gets me is the thought that Lois failed of election by only 
fifteen votes when she made the race for the office. 
Smalley is a better press representative than he is a 

campaign manager, I wot. 

* * * 

Roy Forbush Hanaford, he of the editorial staff 




Rod. 



from "Death's Shorl I ut 
leased on July 5. 



Ri h nice thriller re- 



program. League stuff. You should have seen the Pop 
Rock look I gave him. I'm beginning to believe that 
everybody takes me for a goat, including Bedding. 

* * * 

I know they'll get talking pictures down to a fine 




of the Vitagraph Company, whose papa also prints things, 
blew in here a few days ago and wanted mc to give him 
$60 for a half page in ins official, honest-to-goodness 



Motorcycle delivery of Amusement Supply Co. 

point if they persist. See Bill Swanson for the real 
secret of perfect synchronizm. It was Bill who stood in 
the middle of a third-story room facing an inside door 
and who threw the record book, the stock book and the 
corporation seal over his shoulder and out of a window. 
The strangers on the street caught 'em on the fly. Tom 
Edison never dreamed a dream like that. Bill sure is a 
wonder. 

* * * 

I'm glad that Bernie goes to Universal City. There's 
one of the boys I'm nursing along for who's who and 
I'm thinking I'll pick him about four weeks from today. 
I've seen Bernie work and I like his action. 

* * * 

Oh, you sassy Judge Goff! Or am I getting into 
contempt? Any way, the Judge had a remedy up his 
sleeve that made 'em all look pop-eyed — except the fel- 
low who has control of the stock. Just one guess. 

* * * 

The Cobbs were in town and wanted to know who 
wrote the row song — the one that rhymes with how. 

Heck wrote it. 

* * * 

How terribly awful that Babe Farnham should have 
to sue anybody for pay. Sit on 'em, Babe, you great 
big beautiful doll — sit on 'em till their tongues hang out 
and then plant your little tootsie wootsie on that member. 

* * * 

And so Aubrey M. Kennedy went to Canada. Well, 
well, of all the things. 

Did you get that Saunders joke about the obscure 
rag that alleges affiliation with the film game, printed out 
west somewhere. Say, old man, we'll get all puffed up 
if you take another dip at us. I never have forgotten 

that motor cycle wheeze, but I never cared much. 

* * * 

Here's to Dave Horsley — may the Celtic be kind to 
him. At any rate I know Dave got some of that money 
that the bankers staid up nights to receive in Bayonne. 
It's an ill wind that can't fan one good arm. 

* * * 

Those hustling western dopsters, Stanley H. Twist — 
he of the monogram cigarettes and the thin stick; Omer 
K. Doud — he of the gas car; and last but not least Don 
Meaney — who isn't mean a bit have issued five incom- 



July 12, 1913 



MOTOGRAPHY 



17 



pleted editions of The Convention News — a red hot sym- 
posium of Selig, Kline and Essanay publicity matter in- 
termixed with pish and piffle from an ornery set of al- 
leged scribes — I mean honorary — who found a place for 
warped views that they never dared to print in their own 
papers. I'm waiting to see what McQuade and Hoff 
will contribute. But at that The Convention Nezus will 
show the New Yorkers what Chicago can do under pres- 
sure. Five editions of a twenty page convention maga- 
zine, handsomely printed in two colors ; profusely illus- 
trated; full of original matter and timely cartoons and 
manufactured from the raw in three days is truly worth 
while. Vernon Day was the business manager who 
tended the switchboard for Stan's calls. I say, girls, 
please get him. He's single, handsome, has a return 
ticket and Selig wants him married. If you don't lariat 
Stan they're threatening to send him back to Big Otto 
at the animal farm and that would be sad. It would make 
the laughing hyena jealous. But soft pedal on Doud and 
Meaney. They've been hooked and have to send tele- 
grams back home every hour. 

In this convention daily please observe the profes- 
sional curves of Messrs. Selig and Spoor. Maybe I can 
get an article out of them for the Christmas number of 
Motog. I'm star-gazing that I can't. Mr. Kleine was in 
Europe or they would have had a special release from 
him. 

^ ^ % 

As I hump up here and sweat, I am wishing, even 
yet, that the Universal scrap would find an end. It is 
always biff and bang and kerwallop and kerwhang and 
the trouble doesn't ever fetch a mend. I can't fancy that 
a judge cares a tinker's tarnal fudge who will take the 
reins and run the place today, for the man who holds 
the swag is the one to put the gag on the geezer who was 
slow in getting 'way. But the nut that's hard to crack 
— and its gnawing at my back — is the truth that noth- 
ing's slow about the bunch. They never sleep a wink 
and they slather midnight ink on a wrinkle, on a scheme, 
or on a hunch. When this Regal thing was made, Bill 
and Carl were both afraid that an Irishman named Pat 
would make a steal, so they placed their holdings there, 




Clara Williams of Lubin out for a ride. 

even Steve, as share and share with a ticklish, doubtful 
itching at their keel. But Carl Laemmle couldn't sleep ; 
he would lie awake and weep with his pillow snarled into 
a salty clot. He must get some stock away for a coming 
rainy day whether Bill should know about the deal or 
not. "I should worry," William said, as he smoothed his 



silken head, "two can play a simple little game like 

that," so he wished himself the books, got 'em in his 

velvet hooks and hung onto them until they took the 

mat. In the meantime, Powers, brave, hiked around 

to friendly Dave who had Universal stock to beat the 

band. It was all that wasn't hocked in the Regal vaults 

and locked, so an option entered in and took a hand. As 

the stock was slipped to Pat, Laemmle also thought of 

that and he rushed around to Dave to make a bid. 

Horsley felt so very kind that he didn't seem to mind, so 

he sold his stock again before he hid ! But in passing, 

please to note, that the only stock to vote was the 

stock that Patrick Powers had along ; so when he came 

on deck, there was rumpus, neck and neck with the 

coppers there to see who sang the song. At the session, 

so I'm told, Billy Swanson made so bold that he pitched 

the books and records to the street from three stories 

up the way through a window, so they say, to an ally 

who was loafing on the beat. Then they pinched the 

genial Bill, took his measure, if you will, for they 

hustled him to prison in a trice, but he came a smiling 

back, he had hardly time to slack till he said, "This 

game is working very nice." So they go it day and 

night in the Universal fight ; now you see it, now you 

don't, is all they do. If the stuff we hear them preach 

is the dope that's meant to reach, I am sorry for the 

victims, aren't you ? 

* # # 

Oh, very well, I'll see you there. 



Imperator Filmed By Kinemacolor 

Kinemacolor captured the S. S. Imperator on her 
arrival in New York harbor and the same evening 
showed motion pictures of the gigantic German steam- 
ship in natural colors at the Proctor theaters. This is 
pretty near a record in motion picture news reporting, 
and certainly the first time that natural color photographs 
have been taken, developed, printed and exhibited with 
such speed and satisfactory results. The Kinemacolor 
Company operator Olsson was taken aboard on the Ham- 
burg-American tug as soon as the Imperator arrived 
at Quarantine, and all the way up the bay motion pic- 
tures were taken of different sections of the ship. On 
the bridge Commodore Hans Ruser, and the four Cap- 
tains of the great steamship were posed, with a group 
of German and American directors of the line on the 
promenade deck. Especially interesting views of the 
steerage were taken by Mr. Olsson, who speaks most of 
the continental languages, and directed the scenes ac- 
cordingly. The steamship docked about noon, and the 
films were rushed to the Kinemacolor factory at White- 
stone, L. I., where they were developed and printed in 
record time. At 6 p. m. they were shown at the Kine- 
macolor exhibition theater, in the Mecca building, 1600 
Broadway, for the approval of the Hamburg-American 
directors, who expressed themselves as highly pleased. 



Edison Detective Series Popular 

Another Edison series called "Kate Kirby's Cases" 
have been launched with every prospect of success. Laura 
Sawyer, in the role of Kate Kirby, a girl detective, has 
an opportunity to do some very convincing work. It 
is admittedly difficult to get over a detective story on a 
screen, but the Edison stories are original in construc- 
tion and treatment. "The Diamond Crown" is the first 
of the new series, telling of a theft in high social circles 
which shows unexpected developments. 



18 



MOTOGRAPHY 



Vol. X, No. 1 



Interesting Experiment Shown in Film 

'The Wager" is the title of the Reliance release of 
July 9 and briefly tells the following story: To prove 
his argument that any child reared in the right atmos- 
phere will turn out well, young John Dean, millionaire, 
adopts a child from the slums and has her raised with 
the child of his friend, Mr. Ellis— little Edith. The 
children are of the same age and grow up together as 
sisters. Edith's father awaits developments of hidden 
traits in little Mary, but she is as pure and sweet as his 
own child and in time he also grows fond of her. When 
the girls are eighteen, Dean returns from abroad and 
his pride in his young ward turns to love. They are 
very happy together. Edith has become infatuated with 
the good looking chauffeur and Mary tries in every way 



part in "King Rene's Daughter" is that of a patient, placid 
nurse. With Mrs. Marston in the support of Miss Fealy 
are Harry Benham, Mignon Anderson, David Thompson, 
William Russell and Leland Benham. 




Scene from "The Wager." 

to take her thoughts from him. One day she drops a 
letter from him in the library. Dean and her father find 
it, and as they are puzzling over it, Mary enters look- 
ing for something and to save Edith claims the note as 
hers. Dean is heart-broken and Mr. Ellis says "I told 
you so" Mrs. Ellis agrees. Edith, impatient at Mary's 
long absence, rushes down and seeing Mary's plight 
confesses. Mary is about to go away forever when 
Dean rushes after her and blames himself for doubting 
her. He offers her his name and his heart. And as she 
has learned to love him, she accepts both. The cast : 

John Dean Stanley Walpole 

Mary Rosemary Theby 

Little Mary Rosanna Logan 

Mr. Ellis. . • • Alan Hale 

Mrs. Ellis Edgena de Lespine 

Edith Isabelle Lamon 

Little Edith '. Runa Hodges 



Mrs. Marston Is Gentle 

Mrs. Lawrence Marston, wife of the veteran stage 
director now with Thanhouser, is seen in a new type of 
part in "King Rene's Daughter," where she has the prin- 
cipal female role in support of Maude Fealy. Mrs. Mars- 
ton, since her entrance into picture work, has gathered 
some reputation for her handling of parts of an Amazon- 
ion nature — fighting suffragettes and strenuous business 
women. In this connection she will be remembered in 
"Good Morning, Judge," "A Militant Suffragette," and 
"A Business Woman," all featuring an up-and-doing 
woman who represented her sex as the stronger rather 
than the weaker. So readers may smile at the Than- 
houser announcement that this film-ferocious female's 



Hackett Again Faces the Camera 

James K. Hackett will submit himself in the person 
of Jean Valjean, the convict in "The Bishop's Candle- 
sticks," to the searching eye of the camera, at the Pilot 
Studios this week, concluding a contract — the first ever 
made by Mr. Hackett in connection with moving pictures 
— at Los Angeles last October. Ernest Shipman, and 
his business associates in the Golden State Motion Pic- 
ture Co. who have executed this contract with Mr. Hack- 
ett, prudently deferred final manufacture of the picture, 
until after the assured success of "The Prisoner of 
Zenda." The picture will be made under the personal di- 
rection of Mr. Hackett, who will be supported by a 
specially selected company. 



Spectacle Enthused Audience 

The most wonderful effort of modern times in mov- 
ing-picture production, "The Battle of Gettysburg," 
opened at Cohan & Harris' Grand Opera House, New 
York City, on Sunday, June 1, to the greatest reception 
ever recorded a film on the screen. The house, which 
was "capacity," actually went wild as the stirring scenes 
and exciting incidents of the memorable battle were once 
more enacted before their very eyes. A spectacle such 
as this had never been witnessed by any audience in the 
world. Thousands of men battling to the death, hand- 
to-hand conflicts, scenes of the most awe-inspiring sen- 
sationalism and heroism. And then the cold, dark after- 




math when the grim cloak of death and tragedy over- 
hung the field of battle and shut out the dreadful scene 
of carnage. All this and more has Thos. H. Ince, the 
managing director of the Kay-Bee and Broncho com- 
panies, recorded faithfully in every detail, and little 
wonder that at the close of the film the silent and en- 
thralled audience broke into cheering and tumultuous 
applause, making one of the greatest demonstrations ever 
heard in a theater, and incidentally paying unconscious 
tribute to the genius of Mr. Ince and his company. 



July 12, 1913 



MOTOGRAPHY 



19 




Scene from "Granny's Old Arm Chair," Selig Release of July 18. 

Current Educational Releases 



The South of India. — Eclair. This very beautiful 
travelogue subject takes us through the most picturesque 
sections of this faraway land. The camera-man has se- 
lected some wonderfully beautiful views to form a back- 
ground for bits of native life. 



Consecration of a Buddhist Priest. — Patheplay. 
The strange and rather weird ceremony incidental to 
the consecration of a Buddhist priest. Preceded by a 
corps of musicians the future priest marches with his 
family to the temple and tnere the musicians, personify- 
ing the evil spirit, take turns at tempting the young can- 
didate, thus allowing him an opportunity to show his 
strength of character. Finally, he is presented with his 
sacred vestments which he accepts after a curious cere- 
mony. 



Pisa (Italy) and Its Curious Monuments. — 
Patheplay. A tour through the city of Pisa stopping be- 
fore its landmarks, which are all very old, and culminat- 
ing with a view of the Leaning Tower, the most famous 
structure in the world. 



Through the Land of Sugar Cane. — Eclair. 
There are no more popular pictures than the edu- 
cational series of travelogue subjects which show the 
entire world to the theater patron. In this subject the 



camera man takes us through the Hawaiian Island sugar 
plantations and gives us many very interesting studies 
of the natives of that far away possession of Uncle 
Sam. 



Life on Board an American Man-o-War. — Kine- 
macolor. "All the world loves a sailor," and Americans 
are especially proud of their navy, which since the birth 
of the nation has borne a brave reputation, and is be- 
lieved to be ready to maintain its record in any future 
wars. Naval reviews are always interesting, but few 
have any idea of the daily routine on board an Ameri- 
can man-o-war, which is faithfully shown in natural col- 
ors by this Kinemacolor reel. 



The Torpedo Fish. — Eclair. The torpedo fish is 
a most unusual animal owing to its ability to throw from 
its body an electric shock. It is in a way dangerous to 
handle, although the shock is not deadly to man. Some 
most interesting experiments are shown in which the 
electric vibrations are measured by instruments. 



Porcelain. — Patheplay. The millions of persons 
that seem to have not the slightest idea of the method 
of manufacturing the simple things in every-day use 
will be greatly enlightened and delighted with this film 
which shows in all its stages the making and moulding 



20 



MOTOGRAPHY 



Vol. X, No. 1 



of porcelain dishes, plates, pitchers, etc. The skill dis- 
played by the workmen employed in this industry has an 
odd fascination, but even greater is the skill of the fin- 
ishing artists, who complete the sculpturing work on 
various beautiful statuettes. An educational picture 
that has the advantage of enabling its audience to watch 
the creation of a work of art. 



of the city. Various drills were given by the boys and 
girls at the Protectory arid the value of the institution 
thoroughly demonstrated. 



Through Greece. — Eclair. This is an exception- 
ally interesting travelogue subject of this land which has 
figured so largely in the history of the world. Situated 
at. the southern extremity of the Balkans, modern 
Greece spreads over an area of about fifteen thousand 
square miles. It has a population of 2,500,000. Greece 
is bordered by the Mediterranean Sea and the Aegean 
Sea and includes the Ionian islands, the Archipelagoes 
of Cyclades and Sporades and the peninsula of Pelopo- 
nessus. Very few countries are so mountainous as 
Greece and the wonderful views obtained by the camera 
man are exceptionally interesting. 



Dynamite, the New Farm Hand. — Patheplay. 
The lack of laborers on farms throughout the United 
States has brought to prominent notice the use of dyna- 
mite as a substitute for farm hands. In this film the 
marvellous effectiveness of dynamite is shown in various 
views such as the blasting of a drainage ditch, removing 
a dead tree, blasting four tree stumps at one operation, 
breaking up a boulder and the more delicate work of 
breaking soil with dynamite for planting fruit trees. The 
film has a message to farmers and will interest many peo- 
ple who are anxious to keep pace with the times. 



A Little Trip Along the Hudson. — Patheplay. 
Following the camera upon the far famed Hudson River 
with its lordly Palisades on either bank. A most de- 
lightful and beautiful journey. 



Cosmopolitan New York. — Kalem. New York- 
city has been called "the melting pot," in which the na- 
tionalities of the world become Americans. In this inter- 
esting photoplay we visit many different sections of the 
greatest cosmopolitan metropolis. We see the Greek 
emigrants landing at the Battery ; Orchard Street, the 
most densely populated street in America ; an Egyptian 
cloth shop ; Little Italy ; the Sicilian and Russian quar- 
ters ; a Jewish funeral procession ; the curb market in 
Broad street; Broadway and glimpses of Fashionable 
Fifth avenue. 



The Golden Jubilee. — Majestic. For fifty years 
the Catholic Protectory has held a prominent place 
among the charitable institutions of the United States. 
It was formed in 1863 for the protection of destitute 
boys and girls of the Catholic faith, the Civil War leav- 
ing many orphaned and homeless children whose patri- 
otic fathers and brothers had fallen on the field of bat- 
tle while fighting for the preservation of the Union. To 
these were soon added other thousands, the sons and 
daughters of impoverished immigrants from Catholic 
countries. To save these boys and girls and gather them 
into a home where they would be educated and taught 
a useful trade and where especially their faith would be 
preserved was the object of the illustrious founders. The 
exercises at the jubilee were of a very impressive na- 
ture. His Eminence Cardinal Farley, Archbishop of 
New York, attended with all of the prominent Catholic 
clergy in New York, and many of the prominent citizens 



Over the Great Divide in Colorado. — Edison. 
This picture was taken along the route of the highest 
standard gauge railway in the world. A considerable 
part of the route of this line lies not only above the tim- 
ber line but above the snow line as well. Huge valleys 
thousands of feet deep drift by ; white clouds float plac- 
idly hundreds of feet beneath us, and roaring torrents, 
swollen by the melting snow, flash down the mountain 
sides like bright, eager swords. Not the least interesting 
of all is the equipment of this railroad of cloudland. Al- 
most incredible grades and curves are successfully ne- 
gotiated. The line frequently doubles back on the same 
mountain side above its old tracks, and at one place it 
is possible to jump off a passenger train, take a gentle 
stroll up the hill, and board the same train twenty min- 
utes later five miles further along its course. In some 
parts of the line as many as three engines are used to 
push the train up the terrific grade. Snow-sheds are 
placed at all critical points to avert accidents by av- 
alanches. 



A Remarkable Makeup 

Merely as an example in artistic makeup we show 
herewith a cut of William West, the popular Edison 
character actor, who played the part of an old negro in 
"To Abbeville Court House," a forthcoming Edison re- 




William West in Edison's "To Albeville Conn House." 

lease, filmed in Georgia. It is a fact that the southern 
darkies who gathered around to watch the taking of 
the picture were dumfounded by the realistic make-up 
which Mr. West so cleverly contrived. 



July 12, 1913 



MOTOGRAPHY 



21 



Motion Picture Making and Exhibiting 

By John B. Rathbun 



Chapter IV (Continued). 

CORRECT SCENARIO FORM. 

MANY scenarios that would otherwise have been 
acceptable have been rejected because of the con- 
fusing arrangement of the manuscript, and in the 
lack of system on the part of the writer in displaying his 
wares. The film companies have neither the time nor 
the inclination to rewrite scenarios, no matter how good 
the subject. To insure the attention of the scenario 
editor, the following rules regarding the form of the 
manuscript should be observed. 

(1) Write your story on good white paper, 8^x11 inches. 
(Typewriter second sheets will do.) 

(2) Write only on one side of the paper. 

(3) Use a typewriter if possible; if not, always write in ink. 

(4) Write your name and address at the top of the first 
sheet. 

(5) Write the price of your play, if you think it advisable. 
If it is your first scenario, we would advise the use of the 
sentence, "Submitted at your usual rates." 

(6) In the center of the sheet about two spaces below the 
address, write the name of your play, capitalizing the principal 
words. 

(7) Two spaces below the title write the word "synopsis" 
in capitals. 

(8) On the next line begin your synopsis, giving a com- 
plete outline of your play in as brief a manner as possible. 
Never exceed 200 words. 

(9) Two spaces below your synopsis, and in the center of 
the sheet, write the word "Characters." 

(10) Below this title write the name, and a very short de- 
scription of the characters. Only a few words of description 
is necessary, just enough to explain their relation to the play. 
Each character should be started on a separate line. 

(11) Under the list of characters give the number of scenes 
in the play, the location of each scene (the "locale"), and 
whether they are to be interiors or exteriors. 

(12) Begin the scenario proper on a new sheet, leaving a 
space of about one inch and a half at the top and a left hand 
margin of the same width. The margin should be left clear for 
the scene numbers, such as SCENE I, SCENE II, etc. 

(13) Always use Roman numerals for the scenes. 

(14) Subtitles should either be written even with the left 
hand edge of the text, or in the center of the sheet. The sub- 
titles should always be capitalized so that they may readily be 
distinguished from the text. 

(15) Number all of your pages. 

(16) Pin the pages securely together. 

(17) Never roll your manuscript, for this makes it in- 
convenient to handle. 

(18) When submitting a manuscript always enclose suffi- 
cient postage for its return. 

(19) If you have any comments to make, write them on a 
separate sheet of paper. Make them brief. 

(20) If a scenario has been returned by one maker, re- 
write it before sending it out again. Soiled copy stands a poor 
chance with the next producer, for it is self-evident that it has 
been rejected at least once during its career. 

(21) Don't submit short stories, or matter in story form. 
Analyze the action and motive of every character. 

(22) Don't write dialogues for the characters. 

(23) Keep a copy of every scenario that you write, for the 
original manuscript may be lost in its wanderings. 

(24) Don't submit the same scenario to two manufacturers 
at the same time. 

(25) Number your scenes, and remember that every time 
that the surroundings or "locales" are changed you must have a 
new scene and a new subtitle. In moving picture plays a "scene" 
is the view taken at a single setting of the camera. 

(26) Never leave your characters on the stage at the close 
of one scene, and then show them "discovered" at the beginning 
of the next. Have them leave before the end of the first scene, 
and then enter at the next. 

(27) Don't attempt a play that will be likely to prove un- 
popular with some particular class of people. Avoid religious 
controversies, strikes, political feuds, etc. 

The following scenario will give an idea as to the 



form of manuscript that is to be submitted to the manu- 
facturer, showing the characters, locale, arrangement of 
subtitles, etc. Being merely a form of procedure, no 
attempt has been made to have it of any particular inter- 
est or play value. 

John J. Murphy, 1008 Leland Avenue, Chicago, III. 
(Submitted at your usual rates.) 
"A STORY OF THE RAIL MILLS." 

SYNOPSIS. 

A mill owner, Alton Thomas, buys out one of his smaller 
rivals in order to control a certain class of steel. After the 
purchase Thomas discharges all of the former employees of his 
rival except the superintendent, the chemist, and the melter, who 
alone possess the secret of the steel. All of the old hands are 
replaced by men from the Thomas plant. 

Among those discharged is the son of the superintendent, 
who unjustly accuses his father of causing his dismissal and in 
revenge threatens to sell the steel formula to Thomas unless he 
is reinstated. Fortunately for the father, the son does not know 
that the process of melting, which he does not understand is 
of as much importance as the formulae, etc., etc., etc. 

CHARACTERS. 

Alton Thomas, the new owner of the mill. , 

James McDonald, the superintendent. 
Charles McDonald, son of the superintendent. 
Bill McPherson, the open hearth melter. 
Otto Meyer, a typical nervous German chemist (comedy). 
Robert Edsall, former owner of the mill. 
Hearth men, charging machine and crane operators, ingot 
strippers, laborers, etc. 

LOCALE. 

The scenes may be located in any of the steel mill districts 
of Pennsylvania, Indiana or Illinois. 

Ten scenes are required, of which all are steel mill interiors, 
taken preferably on the charging and pouring floors and in the 
chemist's "floor" coop. This offers an opportunity of introducing 
an interesting semi-industrial feature, showing one stage of steel 
manufacture. 

With the exception of Edsall and Thomas, who wear busi- 
ness suits of good quality, the rest of the characters wear old 
rough clothes. To add a realistic touch to the scenes, the lower 
parts of the laborers' bodies should be wrapped with burlap 
bandages, commonly used as a protection against the heat. 
SCENE I. —Subtitle : "McDonald Warns the Melter." 

Charging Floor. McPherson is directing a furnace charge. 
Charging machine in the foreground. Superintendent runs up 
the aisle, taps McPherson on the shoulder and hands him a letter. 
Mac reads. 
Subtitle: {Letter Form). 

"Dear Mac : — 

Negotiations were closed today. Thomas will assume charge 
next week. McPherson and yourself will retain your old 
positions. Edsall." 

Both men appear to be greatly surprised and troubled. 
McDonald indicates that great secrecy must be observed. Orders 
several sacks of material to be placed in a small room at the 
side of furnace. Locks the door and hands keys to the melter. 
Melter resumes the charging operation. 
SCENE II. 

Chemist's laboratory. Meyer is engaged in making an 
analysis in the foreground. McDonald enters at right so hastily 
that he upsets part of the chemical apparatus. Meyer protests 
wildly with many uncouth gestures. Superintendent laughs and 
endeavors to calm the chemist, then becomes serious and shows 
the letter to Meyer. The chemist immediately locks up the 
apparatus and bolts the doors (comedy business), etc., etc. 

This form while incomplete as to the story will 
show the method of arranging the manuscript. Nothing 
is left to the imagination of the producer for each move- 
ment is specified. 

SELLING THE SCENARIO. 

The prices paid for scenarios vary with the merit of 
the story, or the demand for a particular class of play. 
In the majority of cases, the prices range from five to 
thirty dollars, but in the case of exceptionally good ma- 
terial as much as one hundred dollars is sometimes paid. 



22 



MOTOGRAPHY 



Vol. X, No. 1 



In most cases no credit is given the author, either on the 
screen, or in the publicity matter, unless he happens to 
be a well known writer of fiction. 

All of the manuscript received by the producing com- 
pany is first scanned by the scenario editor or his staff 
of readers. The duties of the scenario editor are sim- 
ilar of those of an editor on a magazine. When he be- 
lieves that a story has merit he submits it for the fur- 
ther criticism of the directors and if found to be suita- 
ble, the writer will receive word that it is accepted. 

Should the scenario treat of an interesting subject 
and contain really new ideas, though badly written, and 
in poor form, it may be rewritten by the editorial staff 
to meet the needs of the producer. We believe however, 
that these cases are few and far between, and do not 
advise that half-cooked scenarios should be submitted 
with the hope that they will be straightened out by the 
manufacturer. The scenario department is a busy one 
and has but little time to devote to the rehashing of 
amateur efforts. 

When submitting a scenario fold it twice across the 
page and enclose it in a stout legal size envelope. Ad- 
dress it to the producing company, and in the lower left 
hand corner write the sub-address "Scenario Depart- 
ment." Always be sure that enough stamps are placed on 
the envelope, for manuscripts that arrive at the studio 
with postage due are certainly not regarded in a favora- 
ble light. Enclose a fully addressed and stamped en- 
velope for return, which should be small enough to go 
into the first envelope without folding. 

If your story has been returned, send it to another 
firm immediately, and keep it moving until it has either 
been accepted or has gone the rounds of all the manufac- 
turers. After a story has been rejected by everyone, look 
it over carefully and see if you can discover where it is 
wrong. If you think that you have located the trouble, 
rewrite it, give it another title and start it on the rounds 
once more. Don't be discouraged with the failure of 
one play, keep at it until you succeed in selling. We 
learn principally through our failures. It is impossible 
to be a good scenario writer without a very considerable 
amount of practice. 

Lists of the producing companies may be had from 
the advertising pages of the motion picture trade jour- 
nals. Remember that really good comedies are the rarest 
and most valuable material on the motion picture market. 



is filled on the more prominent thoroughfares. Tran- 
sients do not require the attention and special induce- 
ments that must be offered to the constant patrons, espe- 
cially in cases where there are competing theaters. 
Neighborhood shows, especially those patronized prin- 



CHAPTER V. THE THEATER. 

Unlike the "legitimate" theater, the average motion 
picture theater is a purely local affair, drawing the 
greater part of its patronage from the residents, business 
men, or transients passing through its immediate vicinity. 
For this reason the prospective owner of the theater 
should make a careful study of the character of the 
neighborhood to determine their probable likes and dis- 
likes rather than to start out with some predetermined 
policy without regard to the characteristics of his patrons. 
Shows that are to be located in residential districts, 
which cater principally to women and children, require 
a different program and arrangement than those located 
in the business section of the city. A show in the busi- 
ness section of the town might prove a success with a 
saloon on either side of it, but such a location would 
be rather risky in the residence districts. 

While many shows have proven successful on side 
streets and out of the usual line of traffic, due to the 
steady patronage drawn by an excellent show, it will 
usually be found a slow and difficult process to build up 
this clientele compared to the ease with which a theater 



j 


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■KW - 1 ^■■■1 


H 111 




Mil 

ill 






9 _ --. ' -.-. 


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1 ** I HI U ^* IS"' 





Fig. 42. Typical Theater Front. 

cipally by children, must have a daily change of films or 
suffer a loss in attendance. 

Locations in the vicinity of schools or churches are 
usually to be looked upon with suspicion, owing to the 
frequent "crusades" organized against the motion-picture 
shows by the notoriety-seeking politicians and clergy. In 
some cities there are ordinances regulating the location 
of picture shows in regard to the schools and churches, 
and the investigator would do well to look up this matter 
before negotiating for a lease. Similar regulations some- 
times govern the proximity to parks or boulevards. 

In new territory where there are no theaters, prac- 
tically the only method of estimating the probable attend- 
ance is that used by the street car and interurban rail- 
road companies, that is by counting the people passing 
the proposed location and dividing this number by a 
suitable factor, determined by experiment on other sites. 
This count should be made every day for a week during 
the time that the theater would be open, and should not 
be made during holidays or other times of unusual 
activity. The factor, or number by which the total is 
divided depends upon the location, the time of day, and 
upon the general character of the town, and varies any- 
where from eight to twenty-five ; that is, under ordinary 
circumstances, from one out of eight to one out of 
twenty-five of the passers-by can be depended on to 
enter the show. 

At night, in the residential districts, this number 
will be from eight to ten. In mill towns having shops 
that run day and night the same number will probably 
hold true between the hours of two and five o'clock and 
between seven and nine in the evening. Saturday after- 
noons and evenings hold to the same figure in nearly any 
location. The purely shopping districts, while showing 
a smaller percentage, have the advantage of having a 
greater number of people passing, which of course brings 
the net to a considerable figure, a fair average for the 
factor being from ten to fifteen, between the hours of one 
and seven. 

When there are picture shows near the site of the 



July 12, 1913 



MOTOGRAPHY 



23 



proposed show the matter of estimating is much sim- 
plified, for one can accurately judge conditions by 
taking the actual count of persons entering the show 
and also by the bill offered to the locality. It has been 
the experience of the writer that competition in a given 
neighborhood really increased the attendance of the first 
show instead of diminishing it, and that with equal con- 
ditions the second show soon reached the attendance 
of the first. From what I have been able to discover 
this was due to the fact that a man and his family could 
obtain nearly a full evening's entertainment for a few 
cents by attending both shows, where he would not take 
the trouble to go to a show lasting only a short time. 
Should one show conflict with another in a neighborhood 
having a population of over five thousand, there is cer- 
tain to be some fault with the program, the manage- 
ment, or the appearance of the unsuccessful show. 

Should there be one unsuccessful show in a neigh- 
borhood that is large enough and prosperous enough to 
support it, it should be carefully examined for faults by 
the owner of the prospective theater so that he can avoid 
the same errors. He should note the color and decora- 
tions of the front, the arrangement of the advertising 
"heralds," the comfort of the seating, the ventilation 
and the courtesy of the cashier and manager. Next, 
but not least, he should note the character and condition 
of the films and the steadiness of the projection. If the 
theater in question has a sloppy, untidy front, plastered 
with old bills arranged in a haphazard manner, or if it has 
a dirty and odorous interior and uncomfortable seats, he 
has probably discovered one of the principal reasons 
why the theater is not patronized by the better class of 
people in the neighborhood. The solution of the diffi- 
culty is obvious. 

Scratched or "rainy" films, that jiggle and jump on 
the screen, and frequent intermission for repairs to the 
film or machine, disgust the average picture show patron, 




Fig. 43. An Odd Type of Theater Front. 



who will probably never repeat his first visit. If the 
pictures are clean and the projection comparatively steady 
note whether the subject of the plays please or displease 
the audience, or whether the music is up to the usual 
standard. While making the count of the patrons see 
how frequently the films and songs are changed, possibly 



they are not changed often enough. With two adjacent 
shows, the matter of estimate is made much easier, for 
then one can compare the successful show with the fail- 
ure and determine what is required by that particular 
locality. 

It is stated by several authorities that a town of one 
thousand should pay from $35.00 to $50.00 per week into 
the .ticket office, which is the same thing as multiplying 
the census population by 0.05. This checks very closely 
with the conditions in Chicago, where 400 picture shows 
serve a little over two million people. 

When the theoretical count is checked, approxi- 
mately, with the count of some theater in the locality, 
the expenditure necessary for building the theater and 
the running expenses should be considered. The rent 
and pay-roll are among the most important factors in well 
settled communities, and the prospective owner should 
carefully examine into these features of the expense. 
The current taken by the projector generally runs second 
in expense to those mentioned. 

STARTING THE THEATER. 

Before starting actual work on the theater, the 
builder should become thoroughly familiar with the city 
ordinances governing the fire risks, form of exits, etc. 
In addition he should carefully study the requirements 
of the National Board of Fire Underwriters in regard 
to the wiring and fireproofing of the operator's booth. 
In the larger cities the ordinances are very rigid in regard 
to the arrangement and the seating, and the smallest 
deviation from the prescribed construction is likely to 
cost the builder quite a sum of money in alterations. 

In selecting a store building for a motion picture 
theater it should be remembered that the ceiling should 
be high enough to accommodate the operator's booth 
over the entrance and still leave head room enough so 
that the audience can enter without stooping.. The booth 
should be high enough so that the light passing from the 
projector to the screen will not be interrupted by persons 
passing down the aisles to the seats. A sloping floor 
should be laid over the original floor of the store, so that 
people occupying the rear seats may have a clear view 
of the screen and stage. As the high portion of the false 
floor is in the rear of the theater and directly under the 
operator's booth, plenty of clearance should be allowed 
at this point. 

As the highest part of the false floor lies from eight 
to ten feet back from the building line and is higher than 
the sidewalk line, it should be connected with the side- 
walk by another floor that slopes in the opposite direc- 
tion. Steps should never be used from the entrance to 
the sidewalk in any case, because of the danger in enter- 
ing the theater in the dark and because of the danger in 
case of fire. They are prohibited in the majority of 
cities for the latter reason. The most comfortable slope 
for the main floor is one in eight, or a rise of one foot 
in the vertical to two horizontally. 

The slope in the front of the house terminates at the 
stage, the latter being from three feet to four feet above 
the floor level. The lower edge of the screen is usually 
arranged so that it comes a few inches above the floor 
of the stage, or so that it may easily be seen by the occu- 
pants of the front seats. When the seats are ordered 
they should be specified for the sloping floor and the 
amount of. the slope should also be given in the instruc- 
tions. The first row of seats in front of the stage is 
usually set level, as this arrangement raises the line 
of sight and is more comfortable in looking over the 
front edge of the stage. 

In cases where the ordinances require the upper end 



24 



MOTOGRAPHY 



Vol. X, No. 1 



of the floor to be level with the side walk, it will be 
necessary to pull up the floor and cut through the joists, 
an expensive operation. With the ordinary store-room 
a raised floor can be constructed by placing a few tres- 
tles across the room that gradually decrease in height 
from the street end of the house to the stage. Joists are 
laid on the trestles and the flooring is nailed to the joists. 

When converting an ordinary store room into a mo- 
tion picture theater it is usual to remove the original 
glass front and its framing and install a wall a few feet 
back from the building line in which is placed the ticket 
seller's booth. On either side of the booth are placed 
the entrance and exit doors, which may be either of the 
single or double swing variety. The operator's booth is 
fastened inside of this wall, and a ventilation hole is 
pierced through it somewhere above the ticket booth, so 
that the operator may have a little chance at the cool, 
fresh air. The distance of the wall from the sidewalk line 
depends greatly upon the size of the theater, it being ad- 
visable to devote, as much space as can be spared for 
this lobby, so that the patrons that are waiting for ad- 
mission to the next show can be kept off the sidewalk. 
In the smaller shows it is seldom -possible to devote more 
than six feet for this space, as more would seriously re- 
duce the seating capacity. 

The character of the doors and their fastenings is 
generally regulated by ordinance in the larger cities, both 
doors usually being required to open outwards so that 
in case of fire they would be opened automatically by the 
pushing of the crowd. To prevent the crowd from en- 
tering the exit door it is usually of the single swing pat- 
tern, opening outwardly, and is not provided with hand 
holds on the outside. The entrance door is almost inva- 
riably of the double swing type. High partitions are 
placed opposite and about four feet back of both doors, 
the width being slightly greater than the width of the 
door, so that they will prevent lights in the street from 
being thrown on the screen. In some cases these walls 
are about six feet high, with a four foot curtain of heavy 
material carried on the top. 

Either at the entrance door or between the entrance 
door and the aisle, is a chain or a movable bar that can 
be used to hold the incoming patrons until there is a 
vacant seat, or to prevent them from interfering with 
those passing out at the end of the show. The ticket 
taker is located at this point, and his position should be 
arranged so that he not only controls the entrance pas- 
sage but has a free view of the aisle as well. 

As the operating booth is usually located over the 
entrance passage, in the smaller theaters, the floor of the 
booth should be at least seven feet above the main floor 
so that there is plenty of head room for those passing 
through the door. This booth may be either erected over 
the ticket seller's booth, forming a second story of the 
latter, or it may be an independent structure erected 
upon the the wall and posts extending over the passage 
and into the partition. Every city requires an absolutely 
lire-proof booth built either of sheet iron or a com- 
bination of sheet iron and asbestos, so that a film lire 
will be confined to the booth, at least until the audience 
has had time to escape. Entrance is had to the booth 
through a ladder, placed in a convenient place where it 
will not interfere with the audience or obstruct the pas- 
sageways, 

The booth should be at least six feet bv seven, or 
preferably eight, for a single projector, and not less than 
eighteen squan feel should be added for each additional 
machine. The height should not be less than six feet and 
preferably seven so as to allow a little air space over the 



operator's head. If the booth is sheathed with metal it 
should either be insulated, or the inside plastered, so 
that an accidental contact with a wire would not cause 
a fire because of a short circuit. Asbestos forms an ideal 
lining, as it is both fireproof and an insulating material. 

A fixed booth should have a fireproof flue leading 
from the booth to the outside air, in case there is not 
sufficient window opening to obtain fresh air, this flue 
being furnished with a mechanically or electrically oper- 
ated fan. The fresh air in this case should enter through 
small screened openings, at a point near the bottom of 
the booth through which the fan could draw at least 200 
cubic feet of air per minute for each machine. These 
small openings, entering the theater proper, will aid 
greatly in ventilating the entire building. 

On the auditorium side of the operator's booth there 
should be two openings, one for the projection of the 
picture, and the other for the operator so that he can 
view the image on the screen. All of these openings in 
the booth should be equipped with steel drop doors, fitted 
with fusible links, so that in case of fire in the booth, the 
doors would be automatically dropped by the melting of 
the links. No opening should be unguarded by fire- 
proof shutters. The door through which the operator 
has access to the booth should be provided with an auto- 
matic catch so that it will remain closed when the booth 
is in use. Only sheet iron fire doors should be used. 

As all film repairs and rewinding should be done 
outside of the booth, a separate booth is often provided 
for this purpose, this being fireproof as well as the oper- 
ating booth. If this is not possible the rewinding must 
be done in the operating booth, never in the auditorium. 

The chairs can either be fastened individually to 
the floor or fastened together in rows, in the latter case 
at least three of the chairs should be fastened together. 
The chairs should preferably be of the opera type, which 
can be furnished at a comparatively small cost, and be 
not less than 32 inches from back to back and not less 
than 18 inches in width. The chair arrangement should 
be such that there is not less than A)A square feet of floor 
surface for each occupant, to insure proper ventilation 
and to prevent overcrowding. No aisles should be less 
than three feet' in width nor should the total aisle 
space be less than ten feet in width, for shows up to 
500 capacity. This aisle width (total in c?se of more 
than one aisle) should be increased one foot for every 
fifty occupants in excess of 600. Fire exits should not 
be less than three feet in the clear. 

When balconies are used they should never seal in 
excess of one-third of the total capacity of the theater, 
and should have exits leading direct to the street or 
alley, so that, in case of lire, the occupants of the gal- 
lery will not interfere with the exit of those on the main 
floor. The exits from the balcony or main floor should 
be not less than five feet in width, and the stairs leading 
from a balcony seating 150 should not be less than ten 
feet in width. The latter should be increased l>\ one foot 
in width for every increase of fifty persons over 150. 
i To Be c ontinut 



American Plant Increases Capacity 

The capacity of the drying room oi the American 
Film Manufacturing Companj has been increased to 
twice what it formerly was. This was necessitated by 
the large and steady increase in business during the past 
several months. Other improvements are also being in- 
stalled so as to insure an even better photographic quality 
than has heretofore been deemed possible. 



July 12, 1913 



MOTOGRAPHY 



25 



Motographys Gallery of Picture Players 



A NNA QUIRENTIA NILSSON is one of the pretty 
A girls seen in the Kalem pictures which come from 
Jacksonville, Fla. Sweden is the land of Miss Nilsson's 
birth and Stockholm and Paris the cities of her educa- 
tion. When she was 
very young, Miss 
Anna discovered she 
had talent as a painter 
and later, by design- 
ing exclusive gowns 
for a Parisian firm, 
earned two years of 
study in Paris. Tales 
of New York and its 
bigness appealed to 
her and she came, 
serving as a model 
for magazine illustra- 
tions for her friends 
and obtaining dra- 
matic experience with 
a summer stock com- 
pany meanwhile. 
Then, one day, as a 
friend of one of the 
players, she accom- 
panied the Kalem 
party which was to 
produce "The Engineer's Daughter." When word was 
received that the leading lady was ill and could not be 
present, Miss Nilsson offered her services, with the re- 
sult that the Kalem people offered her a contract. 




Anna Nilsson. 



CARLYLE BLACKWELL, to become a Kalem lead- 
ing man had to qualify as to a "striking per- 
sonality and good looks ; being athletic, versatile, of su- 
perior intelligence and thoroughly schooled in dramatic 

and motion picture 
work." And he did. 
The company at Glen- 
dale, Cal., obtained 
Mr. Blackwell's serv- 
ices and for some 
time Alice Joyce 
played opposite him. 
It is a year and a half 
since he became a Ka- 
lemite and during that 
time his unshakable 
nerve has enabled him 
to enact many deeds 
of strenuous heroism. 
Between times he en- 
joys mild recreation 
by dashing madly 
through the state in 
his motorcar or on his 
motorcycle and has 
thus earned for him- 
self the title of "Speed 

Carlyle Black well. tt-- i» t jj J. 

King. In odd mo- 
ments, when motoring doesn't happen to appeal, he 
studies. In a recent production he and his high-powered 
motorcycle provided a number of thrills. Of late, char- 
acter work has been his especial study. 




GUY COOMBS' work, both in pictures and on the 
stage, was the "open sesame" for his taking leading 
man honors with the Kalem company at Jacksonville, 
Fla. He started life in Washington, D. C, and made a 
rapid climb into prom- 
inence through his 
splendid work with 
noted people. Mrs. 
Fiske's "Becky Sharp" 
gave him a name and 
two years later he 
was picked by Joseph 
Jefferson as his lead- 
ing man ; the friend- 
ship between them 
was a personal one 
and Mr. Coombs has 
touching memories of 
the last performance 
in which the noted co- 
median played, one 
year before his death. 
Henry Arthur Jones, 
author of "Mrs. 
Dane's Defense," 
chose the now well- 
known Guy to play 
the lead in that play. 
Then followed leads with James K. Hackett in three 
productions and with Wilton Lackeye ; he was featured 
by Louis Mann and Charlotte Walker, his last stage ap- 
pearance being with Miss Walker. 




Guy Coombs. 



MARIAN COOPER looks out upon the world with 
large dreamy eyes that belie her ability to swim, 
dive, shoot and ride with a fearlessness that has put many 
a thrill into Kalem pictures. Also, she is an expert in the 
use of boxing gloves 
and spends her spare 
time in the pretty 
spots of Jacksonville, 
Fla., with her sketch- 
ing outfit. And Miss 
Cooper is only eigh- 
teen years old. She 
was born in Balti- 
more and gained" 
much of her theatrical 
experience in school 
plays. But to see her 
in the role of a south- 
ern heroine, as in the 
spectacular produc- 
tion "The Battle of 
Pottsburg Bridge," in 
which her role is a 
most daring one, one 
would pronounce her 
a graduate of the le- 
gitimate stage. Her 
charming personality 
has made Miss Cooper a favorite with all the players and 
the public will find her a most likeable ingenue in some 
forthcoming release. A new comer in the Kalem ranks 
is Miss Cooper, but one whose popularity is growing. 




Marian Cooper. 



26 



MOTOGRAPHY 



Vol. X, No. 1 



K. and E. With Biograph 

Following the announcement that Klaw and Er- 
langer had decided to enter the moving picture field the 
theatrical managers have formed a $500,000 corporation 
and entered into an agreement with the Biograph Com- 
pany for a long term of years, says the New York Sun. 

The Biograph Company is the oldest moving pic- 
ture corporation now in the business. It has been in ex- 
istence since 1896. The company's studios in The 
Bronx, between Prospect and Marmion avenues and 
175th and 176th streets, occupy twenty-six city lots. In 
these studios is the biggest moving picture equipment in 
America and probably in the world. 

The new organization, ' the Protective Film Com- 
pany, has obtained the exclusive right to produce nearly 
400 plays in moving pictures. Rehearsals for these films 
will be begun next week. More than 600 people will be 
employed. The company will begin releasing its 
films about October 1. 

Marcus Loew has entered into arrangements 
to have all of his theaters, numbering nearly fifty, 
supplied with this service, and the Jones, Linick 
& Schaefer Company of Chicago and Carl 
Hoblitzell, manager of the Texas circuit of mov- 
ing pictures, have also arranged to take the 
films. 

Six stage managers and six companies of 
players will be used in the production of the pic- 
tures. 

Among the first plays that will be produced 
are "Seven Days," "Thelma," "The Three 
Guardsmen," "The Round Up," "A Japanese 
Nightingale," "The Liberty Belles," "The Pink 
Lady," "Broadway After Dark," "Divorcons," 
"Dr. Jekvl and Mr. Hyde," "Mamzelle," "The 
Devil," "Strongheart," "Peer Gynt," "St. Elmo," 
"The Land of the Midnight Sun," "Rebecca of 
Sunnybrook Farm" and the Rogers Brothers' 
series of comedies, including "In Harvard," "In 
Berlin," "In London," "In Paris" and "In Cen- 
tral Park." 

The offices of the new organization will be 
in the Bronx, near the Biograph studios. 

A. E. Erlanger will be the managing direc- 
tor of the new enterprise and Marc Klaw presi- 
dent. 

Empire Films Coming 

Beginning September 1 the New York Mo- 
tion Picture Company, which now produces Kay- 
Bee, Broncho and Keystone films, will release 
Empire films. This is a new brand which will 
be produced by the New York Motion Picture 
Company in accordance with its contract with 
the Mutual Film Corporation, made several 
weeks ago, by the terms of which the present out- 
put of six reels is to be increased to twelve reels. 
Under the Empire brand one two-reel film will 
be released a week. The other four reels a week, 
which must be on the Mutual program by the 
first of the year, will be added one or two reels 
at a time. 

Empire pictures will be Puritan and naval 
subjects. The New York Motion Picture Com- 
pany has made several very spectacular Puritan 
costume pictures, many of them of great his- 
torical value, which will go under the new name. 
The naval pictures are expected to attract much 



attention. In the field of spectacular pictures the New 
York Motion Picture Company ranks among the fore- 
most producers, and the naval pictures will give Kessel 
and Bauman a chance to live up to if not increase their 
reputation. It is said that all the available hulls on the 
Pacific Coast have been bought for use in the pictures, 
and that sea battles will give a new variety of "punch" 
to the new brand. 



Irving Cummings a Real Hero 

For the first time in his life Irving Cummings of the 
Reliance Company enjoyed the sensation of being a real 
hero instead of a make-believe one, when he was carried 
off of the baseball grounds at Lenox Oval, New York, on 
the shoulders of a group of cheering rooters at the close 
of the Reliance-Pathe baseball game. The game was a 
hard fought one from start to finish and at the closing 




July 12, 1913 



MOTOGRAPHY 



27 



half of the ninth inning Cummings found himself in the 
position that every healthy American boy has placed 
himself in dozens of times during his happy daydreams, 
as he sprawled on his back under a tree on a warm sum- 
mer afternoon. The score was a tie; two men were out, 
there was a man on third base; and two strikes and 
three balls had been called by the umpire. The noise 
in the bleachers had given place to a breathless silence 
and every eye was on this hero of a thousand desperate 
situations in moving pictures, but not one little scene in 
real life. Time and again the same eyes that rested on 
Cummings, the ball-player, had seen Cummings, the actor, 
overcome what seemed like unsurmountable difficulties, 
and save the leading-lady from certain death. No mat- 
ter how dark and stormy the night he had never failed to 
say "Hawkshaw, the detective" at the psychological mo- 
ment. Would he fail them, now? Lefty Miller, the 
Pathe pitcher, gave an affirmative nod to the man in the 



mask and the ball sped through the air. The picture 
hero made a mighty swing, bat met ball with a sharp 
crack that sounded like a rifle shot, and the result was 
a near-riot. Nobody looked for the ball. "Skinny Shan- 
er" is probably warming up his team with it in some 
up-town vacant lot — but Irving Cummings knows how 
it feels to be a real hero. 




New Essanay Studio Opened 

On Monday evening, June 2, the new Essanay 
studio at Niles, California, was informally opened. Mr. 
G. M. Anderson and all the members of the western 
stock company received the invited guests, consisting 
of prominent business men of Niles and San Francisco. 
The speech by Mr. Anderson was enthusiastically re- 
ceived and gave the cue for the festivities to begin. 
Dancing, interspersed with gallons of refreshments 
(grape juice), comprised the evening's enjoy- 
ment. Monday, June 9, was moving day for the 
Essanay western company, and everything from 
pins and needles to auto trucks, was moved into 
the new studio. On Wednesday, Director Ingra- 
ham initiated the new plant with its first picture. 
The building is equipped with every improvement 
necessary for producing the sort of pictures that 
this firm turns out. 



The Lubin Studio at Los Angeles 

The western branch of the Lubin Manufac- 
turing Company is located at 4550 Pasadena 
avenue, Los Angeles, California. The studio is 
beautifully situated and combines with attractive 
environment, accessibility to a marked degree. 
The buildings are located upon a beautiful, well 
kept plot of ground 150x450 feet, which pre- 
sents all the picturesque beauty and variety of 
coloring usually found in California gardens. In 
the rear a large stage, 80 feet square, around 
which is grouped a commodious "prop" room, 
a wardrobe room, a scene dock, a paint bridge, 
etc., supplies the facilities for the interior sets. 
Adjacent to this are the stables and corrals, 
where the horses, saddles and equestrian equip- 
ment are kept. In front is a large and hand- 
somely furnished building of the Colonial type 
which furnishes quarters for offices, dressing 
rooms, green room, etc. All in all, it is one 
of the most attractive and best arranged studios 
in Los Angeles, and the Lubin company has 
been complimented upon its attractive and busi- 
ness-like arrangement. In the rear of the studio 
are the tracks of the Salt Lake Route. An 
attractive private station has been built there, 
affording facilities for the arrival and departure 
of characters by train in the photoplays. The 
studio has been named "Lowry," in honor of 
Mr. I. M. Lowry, general manager of the firm. 

"The Code of the U. S. A." release of July 
3, is one of the most thrilling and sensational 
pictures yet produced by the Pilot company. In 
this picture the burning of an old mill and the 
escape of George Morgan from the flames is a 
thriller. George escaped but got his ears and 
face scorched. 



The Reliance-Lubiii baseball game recently 
ended by a cloudburst was played off on July 5. 



28 



MOTOGRAPHY 



Vol. X, No. 1 



Butte Has Ideal Theater 

An interior view of Butte, Montana's,' latest and 
best motion picture theater, the American, is shown here- 
with. This house, which cost over $90,000 to erect and 
which rose from the foundation, complete in every de- 
tail, in exactly eighty-five days, thereby breaking all 
building records of Butte, is indeed a modern temple of 
the silent drama of which the Montana Amusement 
Company, its owners, have a right to feel justly proud. 

Nothing but a visit to the new theater can empha- 
size its many splendors, the lavish equipment and scien- 
tific construction. It was built with an eye to the safety 
and convenience of patrons, as well as to beauty. From 
the Mexican onyx front with its mirrored canopy to the 
velour draped stage with hangings costing more than 
$1,000 no expense has been spared either in the con- 
struction of the theater or its equipment. 

Seats have been provided for 1,000 persons, al- 
though the size of the theater would have permitted in- 
stallation of 300 more. The idea was to make the house 





as comfortable as possible and to arrange the seats so 
that no one's view would be obstructed. 

The theater is all of steel and concrete construc- 
tion. There are eight hundred and twenty-five electric 
lights in the building, the greater number of which are 
in use while the picture is on the screen. One visit is not 
sufficient to appreciate all of the splendors, comforts and 
conveniences of the new theater. For instance, on the 
first visit one is not apt to discover that just to the right 
of the foyer there is a pretty little room where baby 
carriages may be checked, with a matron in charge to 
look after the babies. The officers of the Montana 
Amusement Company are Frank T. Bailey, president; 
George Grombacher, secretary-treasurer; and William 
Cutts, general manager. 



State Rights "Withdrawn 

The demand for "One Hundred Years of Mormon- 
ism" from leading theaters, has decided 11. M. Russell, 
to suspend sales of state rights, and continue the ex- 
ploitation of this picture in the East, upon the same basis 
thai is cleaning up big money in the West. Offices have 
been opened at 220 West 42nd street. New York Cit) 
and Ernest Shipman, well known to theatrical managers 
throughoul the country, placed in charge of the book- 
ings. Mr. Shipman has deferred his trip abroad for a 
few weeks and will arrange the routes of the various 
companies, remain for third annual convention, the week 
of July 7, and then go to London in the interests of his 
other enterprises. No time will be lost in hooking the 
various routes for the Mormon picture, and managers 
with desirable open time should communicate at once. 



The manager and the operator were having an argument 
about the age of electricity and the operator clinched the de- 
cision by saying, "Why, man, electricity is as old as the hills ! 
Didn't Noah make the ark light on Mount Ararat? Of course 
he did." 

The engine shaft of a picture theater in the Midlands sud- 
denly snapped the other evening, says The Kinematograph and 
Lantern Weekly, and consequently the performance had, for the 
time being, to be suspended. Incidentally it is worth noting that 
one of the films in the program was "It's Never Too Late to 
Mend." 

Bert Ennis, of the New York Motion Picture Company, has 
a stenog. who in the latest press sheet re "The Battle of Gettys- 
burg," placidly asserts that "The silent audience broke into 
cheering and tumultuous applause." 

Funny, isn't it, the way things disappeared from the Univer- 
sal offices during the recent rumpus. Perhaps not so surprising, 
after all, however, when we recall that one of those present was 
Howard Thurston, the famous magician. We don't mean to 
insinuate anything, but don't magicians generally make stuff dis- 
appear? 

Some of these millionaire exhibitors will probably be inter- 
ested in noting that this new income tax they are talking about 
sticking on us provides for a fair-sized exemption for each baby. 
Have you any little exemptions in your home? 

IT MUST BE A FUNNY ONE. 

An exhibitor down in Princeton, Indiana, advertises the film. 
"Frau Van Wrinkle's Crullers" as "A comical comedy, full of 
laughing." 

We judge from a recent communication of Prexie Neff 
that the coming convention and exposition is going to be some 
regular show. And at that, we guess it is. 

OUR BURG. 

Stan Twist, Don Meany and Omer Doud have been awful busy the 
past week about something. We don't know just what's doing, but 
feel safe in saying that the boys are getting ready to pull something big. 

At Greenland has got himself a new job and expects to see a lot 
of new scenery during the next few months. Good luck Al. 

Phil. Solomon, who put the feat in Warner's Features has invited 
Ye Ed. to a private Xibition of "Theodora" next wk. Thanks, Phil, 
we'll be there. 

Chas. VerHalen is also working for a new boss. Here's how. Chas. 

Gosh, but it was hot last wk. Ye Ed. lost bout six pounds and 
don't believe the well known Hades can be much worse than Our Vil- 
lage was. Even The Goat had his collar off and kept on the shady side 
of his pasture. 

SCENARIOS THAT ANYONE CAN WRITE. 

We had thought about outlining a plot for a feature film 
this week, but the Itala company has copped our stuff. Clymer 
sends in a press sheet telling how the hero of his latest feature 
rolls himself up in a big snowball and then dashes down an 
Alpine mountain side at express speed. The lnll rolls into a 
creek and dissolves. The hero then grabs hold of a pulley 
running between two mountain peaks and makes a slide for life 
that makes your hair stand on end. In the finish he arrives at 
the church in time to spoil the wedding and win the girl for him- 
self. Gee. we couldn't thing of a better one than that if we tried 
a week. Ain't it a corker" 

WHAT'S Till' USE? 
Sir: — You may, if you care to. pull a whir r over the fact that an 
exhibitor in our neighborhood announces three films with the following 
titles: "Two Little Kittens," "The Yarn of the Nancy Belle," "An Infernal 

Tangle." 

We're L:oine. to establish a side track for time-worn moss- 
jyrown phrases which have been worked overtime and need a rest. 
The first one being run off the main line is "The motion picture 
industry is still in its infancy." The switch is still open, so if 
any of you have phrases to put on The Side Track, come on with 
'em now. 

"Why in Three Parts?" reads a banner over a local theater. 

We'll bite. Why' 

Maybe two would have In nough, N. G. C. 



July 12, 1913 



MOTOGRAPHY 



29 



Truth In The Wilderness 

Taken Against Superb Backgrounds 



SUPERB scenic backgrounds make American's 
"Truth in the Wilderness," the two reel release of 
the "Flying A" Company for July 14, a feature 
that will be long remembered by all who witness it. 

This multiple reel subject is one of the first pictures 
to come from Lorimer Johnston, the American's new 
director, and certainly sets a high standard. The story 
of the stirring drama is laid partly in Chicago and partly 
in a Mexican mining camp, thus giving an opportunity 
for both some striking scenes in the gardens and grounds 
of a millionaire's city home, and also for some views of 
the tropics, that are splendidly photographed. 

Warren Kerrigan plays the principal male role and 
is ably assisted by Vivian Rich and Charlotte Burton. 
Other popular American players seen in the picture are 
Louise Lester, Jack Richardson and George Periolat. 

The story opens in the office of the president of a 
huge mining company, where Bruce Willard is employed. 
Bruce has just asked for a raise and an opportunity to 
work up to a more responsible position. The president 
not only offers him the raise in salary, but tells him he is 
to be sent to take charge of the Mexican mine, and if 
he makes good at the end of two years assures him he 
will be given a substantial interest in the company. 

Young Willard hastens to the home of his sweet- 
heart, Helen Courtney, a society butterfly, and secures 
her promise to await his return to become his wife. 
After Bruce has left for Mexico, however, we learn 
that Helen's choice is not that of her mother, and the 
girl is finally persuaded to bestow her love upon one 
George Scott, a wealthy but aged gentleman. 

Meanwhile Willard has reached Mexico and the 
locality of the mine. He has scarcely taken charge of 
affairs until he discovers that something is seriously 
wrong, as the daily talley sheets prove that a large 
amount of the ore which is reported raised to the top of 



The young man has, however, been far too busy at- 
tending to his duties and with his thoughts of Helen, to 
pay much attention to Mary, though his every glance 
at her and his every kindly or sympathetic act have 
meant a thrill of joy for the lonely girl. 

One dav Mary sees Miguel, the Mexican foreman 





Scene from "Truth in the Wilderness." 

the main shaft, disappears between that point and the 
loading platform. He sets himself to discover the 
cause of the shortage in ore and is aided in this work 
by Mary, the daughter of the camp bartender, who has 
been deeply smitten by the manly charms of the hand- 
some Bruce. 



Scene from "Truth in the Wilderness." 

of the mine, and Jose, another Mexican, driving some 
heavily laden burros along a path which leads up to a 
little hut, so screened as to be almost invisible from the 
nearby roadway. She follows and watches the men un- 
load the heavy packs and drag them within the hut. 

Her suspicions aroused by this action of the Mexi- 
cans, Mary investigates further, upon the departure of 
the men, and finally, obtaining entrance to the hut, dis- 
covers that the bags contain silver ore, thus proving the 
thieves to be none other than Miguel, the foreman, and 
Jose, his humble satellite. 

Mary hastens to Bruce with the information she 
has obtained, and the young superintendent in paying 
off the men, dismisses both Miguel and Jose. Later he 
follows the ore thieves to their lonely hut and opens 
fire upon them, when they refuse to return the ore. The 
revolver battle which follows is highly spectacular and 
finally the hut is set afire, thus forcing the Mexicans 
into the open. Bruce, slightly wounded, staggers away. 
after having seen Miguel expire as a result of the long 
continued gun-play. 

Following a report of the capture and death of the 
ore thieves, Bruce receives word from the president of 
the company that he has "more than made good," and is 
called back to Chicago. Joyfully Willard packs his be- 
longings and prepares to return to his sweetheart, whom 
he still believes to be loyally awaiting him. Mary's 
heart-strings are torn when she discovers that Bruce 
cares for another and is going away almost without say- 
ing "Good-bye." 

Arrived in Chicago, Willard is astonished to find 
that Helen has engaged herself to Scott, who is more 
than twice her own age. Scott and Willard meet and, 
naturally, each is jealous of the other. Helen, highly 
pleased over Bruce's complete success, is inclined to give 
up Scott and return to her first love, but Bruce, hh 



30 



MOTOGRAPHY 



Vol. X, No. 1 



heart broken by her fickleness, casts her away from him 
and leaves in a towering rage. 

Reporting back at the office of the mining company 
he asks to be permitted to continue as superintendent of 
the Mexican mine and with a heavy heart boards a 
train which will take him back to Mexico. 

Upon his return, he finds Mary grieving over the 




Scene from "Tom Blake's Redemption." 

death of her father and now more lonesome than ever 
before. The gift of a cluster of wild flowers pleases 
Bruce mightily, and swept by a passion which he scarce- 
ly comprehends, Willard seizes the girl in his arms and 
kisses her. Mary then gives way to her emotions and 
tells Bruce how madly she has loved him since his first 
coming to the mine and how heart-broken she has been 
during his absence. 

Bruce, now thoroughly aware that he is in love, 
head over heels, cuddles Mary in his strong arms and 
assures her that they will never be separated again. 

As stated in an earlier paragraph, the story is con- 
vincingly acted by a great number of the popular Ameri- 
can players and the backgrounds of the scenes showing 
Helen's home in Chicago are strikingly beautiful. "Truth 
in the Wilderness" is certain to be hailed by the exhibi- 
tors as a feature well worth booking. 

On July 24 a single reel subject entitled "Tom 
Blake's Redemption" will be released by the American 
Company which is a subject quite out of the ordinary for 
the American to produce, as it is a railroad story. War- 
ren Kerrigan will be seen as a locomotive engineer and 
many of the scenes are taken aboard a speeding train. 
The attempted hold-up of the limited and views from the 
observation platform of the president's car are among 
the scenes which make this single reel subject a real 
thriller. The "Flying A" players and director are to 
be congratulated upon the clever manner in which they 
have presented a subject so far from the usual type of 
their past releases. Evidently the American is fully 
prepared to produce most any sort of story, and one 
can look for a wide variety of subjects in future re- 
leases. 



Essanay Leading Lady To Marry 

Ruth Storehouse has succumbed to the little love- 
god and is going to give up film work for house-wifley 
activities in :i honey-moon flat where she can have a win- 
dow box on l he back porch and — if it is at all possible in 



connection with a very modern flat — a tiny garden and 
some round, fluffy chickens, little ones. "They're so 
cute," Miss Ruth explained; "we have some out at the 
studio and I could look at them all day." 

"Ruth — come here," signalled V. R. Day through 
a small aperture in the door of the Essanay theater, 
where Miss Ruth had dropped in to see pictures ; it was 
exhibitors' day. Miss Ruth disappeared into the hall and 
shortly a big man addressed the exhibitors to the effect 
that one of Essanay's delightful little leading ladies was 
present and would speak to them for a minute, and when 
Miss Ruth appeared everybody applauded and she smiled 
and said : 

"I'm awfully glad to meet you and hope I've pleased 
you with my work. I've always tried to appear natural, 
in my acting, and have done my best and if you don't like 
me — well, I can't help it, because I couldn't have done 
any better, anyhow. I — I'm going to get married pretty 
soon and will give up film work and — really, I've never 
made a speech before so — that's all." And Miss Ruth 
escaped out into the hall and into the back of the theater 
by another door, while the exhibitors clapped and a fat 
lady exhibitor who had come late because, as she ex- 
plained to those nearest her, she had eaten a real lunch, 
asked "That Stonehouse?" and on being assured that 
it was, remarked, "A sweet child !" 

"How'd it sound?" whispered Miss Ruth as she 
dropped into the chair over the back of which her coat 
was spread. "Did my voice shake ? That's funny, for it 
felt so wiggledy — and my face is so hot. Yes, I'm going 
to be married soon, but not right away." 



The "New Majesties" 

C. J. Hite has finally completed the organization of 
his "New Majestic" acting company. The roster of 
principal players is : Fred Mace, Marguerite Loveridge, 
William Garwood, Francelia Billington, Lamer John- 
stone, Ann Drew, Ernest Joy, Dick Cummings. Of these, 
Mace was with Biograph and Keystone, Miss Loveridge 
with Biograph and Kinemacolor, Joy with Kinemacolor, 
Garwood and Miss Drew with Thanhouser, Johnstone 
with Eclair, and Cummings and Miss Billington are in 
the "new faces" division. 



Kathlyn "Williams in Animal Dramas 

Kathlvn Williams, the intrepid leading woman of the 
Pacific Coast studios of the Selig Polyscope Company, 
was the first motion picture star to appear in photoplays 
which utilized wild animals in their telling. Her repu- 
tation for work with the treacherous animals became so 
universal that the Selig Company was forced to lake her 
out of these roles for a time because of the fact that 
many fans believed her to be an animal trainer rather 
than an actress. After performing the role of the Boer 
girl in "Lost in the Jungle," in which she was injured, 
when a leopard leaped upon her, she became known as 
"the fearless one." The cognomen has clung to her. 
ever since and so many have been the requests, to again 
see "the fearless one" in animal pictures, that Mr. Selig 
sometime ago gave his consent for her to work in a new 
series of jungle thrillers. The first picture of this new 
series has been completed and it is said to surpass all 
previous attempts of this character emanating from. the 
Selig wild animal farm. It is a multiple reel subject, and 
if predictions are correct will be more popular than any 
previous film released by the house of Selig. It will be 
seen sometime this fall. 



July 12, 1913 



MOTOGRAPHY 



31 



Of Interest to the Trade 



Harry Raver Heads New Film Company 

The All Star Feature Corporation, the very new- 
est thing in the way of a feature film concern, sent in 
its application for a charter to the secretary of state of 
the State of New York on Monday, June 30. The 
officers of the new company are Harry R. Raver, presi- 
dent ; Archibald Selwyn, vice president ; George J. Cooke, 
secretary; Phillip Klein, treasurer; and Augustus 
Thomas, director general of all productions. The capi- 
talization of the company is given as $100,000. 

Already the All Star Feature Corporation has se- 
cured the world's rights to the following well known and 
popular plays : Arizona, The Chorus Lady, The Grain of 
Dust, The Witching Hour, The Sporting Duchess, The 
Jungle, Leah Kleschna, Paid in Full, Within the Law, 
The Traveling Salesman, The Aviator, Colorado, Pierre 
of the Plains, The Arab, Lovers Lane, The Middleman, 
The Country Boy, The Wolf, In Missouri, The Light 
Eternal, Wildfire, D'Arcy of the Guards, The Brass 
Bowl, and a great many others are being arranged for. 



New American Studio 

The building and grounds of the New Mission 
street studio of the American Film Manufacturing Com- 
pany, in Santa Barbara, California, have now taken such 
form that one can easily comprehend what the com- 
pleted whole will be like. The last important piece of 
work to be started is the ornamental wall on Mission St. 
This is now well up and is of brick to a height of eight 
feet. It will later be given a coating of cement, the same 
as the group of buildings. In the main the following 
buildings are completed: administration, development 
plant, garage, players' dressing room and quarters, prop- 
erty building and carpenter shop. The foundation is in 
for the glass studio. The mission style has been carried 
forward nicely and the entire plant has a most substan- 
tial appearance, to which has been added much that is 
attractive. There will be a handsome roadway leading 
through a very ornamental arch gate. As soon as possi- 
ble the grounds will be landscaped. There will be gar- 
dens, walks and arbors, the scheme being to use these 
bits occasionally in moving picture stories. From some 
points it will be possible to take unusual close-up stuff, 
with mission towers and similar effects and real mount- 
ains in the background. Lorimer Johnston, who has 
visited most of the important studios here and abroad, 
states that he knows of none that equals what the new 
American will be like when completed. 



Eclectic Film Company Removes 

The Eclectic Film Company, which has sprung into 
the lime-light with their productions of "Les Miserables," 
"The Mysteries of Paris" and others, have rented large 
and commodious quarters in the World's Tower Bldg., 
110 West Fortieth St., New York City, in which they 
will occupy the western half of the tenth floor. The ever 
increasing business of the Eclectic Film Company has 
made the removal to larger quarters a necessity. Con- 
trary to a notice published in another trade paper, there 
will be no laboratory on the new premises, which will be 
entirely given over to the executive offices. Special at- 
tention is being given by the Eclectic Film Company to 
the installation of an up-to-date, comfortable and cool 



exhibition room which will be fitted with an approved 
system of ventilation. Local and out of town customers 
and friends are cordially invited to call at the new Eclectic 
offices where they will be made to feel at home, and be 
given an opportunity to view the latest productions im- 
ported from Europe. 



General Film Notes 

One of the most elaborate exhibits at the Exposition 
in the New Grand Central Palace, New York City, begin- 
ning July 7, will be made by the General Film Company. 
While the design of the booth has not been divulged, it 
is understood that it is to be something radically different 
from the conventional exposition construction. The booth, 
which is to be thirty feet long and fifteen feet deep, will 
be used exclusively for the reception of visiting exhibitors 
and the general public, the display of films, posters, ban- 
ners, etc., being confined to the miniature theater for 
which the company has arranged. During the week eve- 
nings will be set aside for the several licensed manufac- 
turers who have promised that their prominent players 
will be in attendance. Wednesday evening will be Vita- 
graph Night, Friday will probably be Edison Night; the 
others will be announced later. 



George Balsden, formerly owner of the Photoplay 
Advertising and Specialty Company of Pittsburgh and 
elsewhere, and now manager of the Poster Department of 
the General Film Company, was in Albany recently es- 
tablishing a poster branch in connection with the local 
distributing office. 



The early part of the month the Boston poster branch 
was opened and has proved a great boon to exhibitors in 
that territory. 



H. J. Cohen, formerly a special representative of the 
General Film Company in the East and in Canada, re- 
cently assumed charge of the new City Hall Square 
branch, at 139 North Clark street, Chicago. 



Attractive Mailing Card 

Messrs. Geo. H. Dieringer and F. N. Warren, the 
enterprising managers of the Southern Play House of 
Wheeling, West Va., have prepared some attractive pri- 
vate postal cards which not only give the full week's pro- 
gram of the nightly features shown in their theater, but 
also contain two excellent interior views of the spacious 
playhouse. Doubtless the mailing of these cards to the 
thousands on their mailing list enables Messrs. Dieringer 
and Warren to play to capacity business at all times. 



Itala Notes 

W. B. Schram, who has been operating as a state 
rights buyer in Michigan, will henceforth do business 
under the name of the Wolverine Feature Film Company 
with offices at Room 209 Equity Building, Detroit, Mich. 
This Company has purchased "The Fatal Grotto" from 
the Itala Film Company and may handle the Itala out- 
put in the Wolverine state. Sam Benjamin of Chicago 
has purchased the rights for "Tigris" for Iowa. Alex 
Wall of Birmingham, Ala., has purchased rights for "The 
Great Aerial Disaster" for Alabama and Mississippi. 



32 



MOTOGRAPHY 



Vol. X, No. 1 



David Mundstuk of the M. & F. Feature Film Co. of 
Chicago has contracted for the Itala output for Northern 
Illinois. W. E. Greene of Boston is now booking "The 
Dread of Doom" and "The Fatal Grotto" as is also the 
Emby Feature Film Co. of New York City. Attractive 
Feature Film Co. of Philadelphia, Gilden Gate Film Ex- 
change, San Francisco, Monarch Feature Film Co. of 
Kansas City, Mo., and the Weiland Feature Film Co. of 
Pittsburgh. 



"A Florentine Tragedy" 

Manager Tom Evans of the Powers Photoplays 
Inc., ran off the initial effort of that company one day 
last week in Los Angeles and a reviewer of that city, 
tvho saw the picture, wrote as follows regarding it : — 

"If the Powers Photo Plays Inc., go along in the 
way they have started then I predict a great big success 
for them. It took some pluck to put on a classical play 
at the very outset and what is more, to put it on with a 
star cast and costly mounting. 

"A Florentine Tragedy" lends itself to dramatic 
treatment and is well suited to the needs of the screen. 
The play is well put together and follows an interesting 
story throughout. The last reel is wonderfully fine and 
the others full of interest. Mr. Arthur Maude was re- 
sponsible for the scenario and did his work well. The 
acting is superb throughout. Miss Constance Crawley 




Scene from "A Florentine Tragedy." 

has played the part of Bianca many times before and is 
fully conversant with its possibilities, her acting is na- 
tural and distinguished. Arthur Maude is forceful in 
the fine part of Simone. He is a master of suppressed 
emotion on the screen. Joe Harris was excellent as An- 
tonio and Edith Bostwick presented a tragic figure as the 



serving woman, Maria. The exteriors are well chosen 
and very beautiful and the interiors very fine and excel- 
lently painted. They show much thought. The direction 
is very fine indeed — J. Farrell Macdonald has never pro- 
duced anything better and that is saying a lot. 

"The same director and the same company have just 
completed 'Pagliacci' and are at work upon another class- 
ical production." 



Selig Building London Offices 

Plans for the new office building which the Selig 
Polyscope Company are erecting in Wardour street, Lon- 
don, West, are now before the city authorities in com- 
pleted form. The plans call for one of the most 
modern and substantial structures in London, and when 
completed the offices will undoubtedly be the finest film 
offices in the world. Every convenience, including 
model projection theaters, show rooms, lounges, etc., are 
provided for. The building will cost over fifteen thou- 
sand pounds. The old buildings on this location are now 
being razed. 



Cardinal Farley "Close-Ups" 

Some wonderfully intimate views of Cardinal Farley 
are claimed by the New Majestic photographers in their 
film of the Golden Jubilee ceremonies of the New York 
Catholic Protectory. These views are stated to be the 
best "close-ups" of the great dignitary of the church that 
have thus far been possible to procure. "It is like stand- 
ing alongside His Eminence," says C. J. Hite. The pic- 
ture can be strongly recommended for Catholic church 
entertainments, and in the regular picture house it will be 
educative to the many who like to see, at close range, how 
a real Cardinal moves and acts at an important function. 
"The Golden Jubilee," as the film is called, was released 
Tuesday, July 1. 



Remarkable Versatility Necessary 

Irving Cummings is being put to the severest test 
of his whole career as an actor in "Hearts and Flowers," 
a coming Reliance feature by Marion Brooks. Starting 
as a youth of twenty in 1861, Mr. Cummings will be called 
upon to show an event taking place in every year of the 
life of the character up to 1913. This feat will call for 
acting such as has never been attempted in the history of 
the drama. In fact, the idea of the story which is being 
staged by Oscar C. Apfel is entirely different from any- 
thing ever attempted for stage or screen production. 

Marshal Farnum With Selig 

It will surprise many to learn that Marshal Farnum, 
a favorite legitimate actor associated with many dramatic 
successes, has been now engaged by the Selig Polyscope 
at the big Selig plant in Los Angeles. Cal. He will 
version of Rex Beach's most famous novel, "The Spoil- 
ers." Through an error some of the trade journals re- 
ceived a bulletin announcing that both William and Mar- 
shal Farnum had been engaged and that the first pro- 
duction would be Winston Churchill's "The Crisis." 



Uncle Sam Needs Pictures 

The motion picture machine will shortly take the 
place of the recruiting sergeant if the recommendations 
of Major R. C. Croxton, U. S. Infantry, are complied 
with in the future campaigns for army recruits. 

Thousands of feet of film carrying actual scenes 
from the life of the soldier, at home and abroad, will be 



July 12, 1913 



MOTOGRAPHY 



33 



exhibited. Silver-tongued army orators will lecture as 
the reels unravel their interesting pictures. Recruiting 
parties will travel from town to town with the motion 
pictures, playing the leading part in their daily work. 
Seventy-five auxiliary stations throughout the country 
will be abandoned, better results will be attained, a finer 
class of recruits enlisted and $299,000 a year will be saved 
the government is Major Croxton's premises are correct. 

The films shown will include a number of reels. A 
day as a recruit will trace the life of the "rooky" from 
sunrise to "taps." His arrival at his regimental head- 
quarters and subsequent work as a full-fledged soldier 
will occupy another reel. Fatigue duty and kitchen 
police, the menial portions of the soldiers' work, will be 
shown in full, so that men will not enlist with the idea 
that his life was to be all a bed of roses. Guard duty, 
life aboard transports, in the Philippines, Hawaii, 
Panama and Alaska will be shown. Field service work, 
maneuvers, ceremonies and target practice will give the 
neecssary touch of life to the films, according to the 
sponsor of the idea. 

Major Croxton says in the Infantry Journal, advo- 
cating the adoption of the new plan : "The majority of 
men reached by our advertising methods are either out 
of work and apply for enlistment as a last resort, or are 
minors in search of adventure, who soon find themselves 
drifting into bad habits. The government is in the mar- 
ket for men ; it is advertising its wants. Certainly there 
is every reason why it should use the most economical and 
up-to-date methods in reaching the best class of men to 
fill its ranks, and to show such men as truthfully and 
completely as possible just what the service of a soldier 
means." 



Selig to Exhibit at Manchester 

The Selig Polyscope Company have taken a large 
stand at the Cinematograph Exposition which will be 
held in Manchester, England, for fourteen days, begin- 
ning October 4 next. The Selig company will exhibit 
some of their masterpieces there during the exposition, 
and it is expected that they will carry off first honors 
this year as they did last season, when they won the 
first medal and diploma at the Vienna Exposition. 

"Flying A" Multiple Reels 

The American Film Manufacturing Company will 
release a two-reel subject every other Monday. "The 
Ashes of Three," a recent two-reel release, met with 
such tremendous approval and created such a demand 
for more multiple "Flying A" releases, that in future 
the one-reel subject of every second Monday is .to be 
replaced by a two-reel subject. 



No Confusion Possible 

In order to avoid any possible confusion that might 
arise between the film and the play, "Her Rosary" will be 
the title under which a novel picture drama containing the 
beautiful lines of "The Rosary " will be released on July 
16 by Reliance. This single-reel subject was staged by 
Oscar C. Apfel who considers it the best thousand feet 
of film that he has ever produced. 



Wm. S. Davis of the Ramo studio is directing a 
very interesting feature picture this week entitled "Men 
Who Labor." The story is adapted from Emile Zola's 
"Labor." Mary Alden, Jack Hopkins and Stuart Holmes 
dominate the caste and judging by their acting, they 
are lifting this strong story to a very high level. 



To Show Film to Notables 

Interested by wide comment on the intimate study of 
a man infected with tubercular germs as shown in the 
Itala film, "The Dread of Doom," the National Associa- 
tion for the Study and Prevention of Tuberculosis pro- 
pose to aid them in its exploitation. Philip P. Jacobs, as- 
sistant secretary of the Society, and Harry R. Raver will 
probably arrange to exhibit the film before members of 
the executive board of the association. Expected to be 
present among others are the honorary vice-presidents, 
Theodore Roosevelt and Sir William Osier. 



Mabel Is Very Popular 

Mabel Normand received an ovation in San Fran- 
cisco, Cal., recently when she arrived in that city to enjoy 
a short vacation. The throngs about the train as she 
stepped off demanded a word from their favorite screen 
star, and Miss Normand made a pretty little speech of 
thanks, although confessing afterwards that she was con- 
siderably flustered by her reception. 



Wray Physioc, manager of Ramo productions, is 
planning some new trick pictures soon to be produced 
at the Ramo studios. The films will be in 500 foot 
lengths and will involve educational and scientific sub- 
jects. John Arnold, who has been responsible for Ramo's 
excellent photography, has been experimenting with Mr. 
Physioc for several months and they both claim that the 
result of their labors will be in the exhibiting of trick 
pictures never before attempted in cinematography. 




Scene from "Truth in the Wilderness" released by American Film Manu- 
facturing Company. 



34 



MOTOGRAPHY 



Vol. X, No. 1 



You Can't "Touch Him" Now 

Robert Burns, comedian of the Lubin Co., would not 

be the creator of laughs that he is if he did not have 

some very funny experiences to relate. Bob, as he is 

known among his 

friends, is a very pop- 
ular fellow, always 

ready to help anyone 

that he can, so much 

so that his goodfel- 

lowship has at times 

caused him to be the 

prey of the "loan me 

a dollar boys." It re- 
mained for a fellow 

Bob helped during the 

earthquake out in San 

Francisco, when he 

was with "Babes in 

Toyland," to nearly 

cause him to faint. 

One day not long ago 

Bob received a letter 

asking him if he were 

not the fellow that 

had loaned the writer 

$25.00 at the ferry in 

Frisco, the party 

wrote he had seen Bob's face in a moving picture and 

thought it was the same man that befriended him when 

he needed it so badly. He wrote "Why that $25 made 

a man out of me, it was a life saver." 

Bobby wrote the fellow he was mighty glad to have 
been of service to him, as he considered it as little as 
any man could do as he went along life's pathway, to 
help his unfortunate brother. That in helping anyone, 
he, personally, got a lot of pleasure out of it and told 
the fellow where a letter would reach him. The other 
morning the mail man left a letter for Bob from this 
same fellow. This is what he wrote. "Glad to know 
you're the fellow that loaned me the $25. I am married 
now, got four kids, could you loan me another $25 ?" 
Friends revived Bobby in about an hour so he could be 
moved to his hotel. 




Robert Burns. 



Featured in Ballad 

Popularized in silent drama as the leading woman 
with the Rex company at Universal City, Cal., Miss Mar- 
garita Fischer is now idolized in song by two of her ad- 
mirers who are noted in the East as composers. A two- 
verse ballad, entitled "That Moving Picture Girl," has 
been written in the name of Miss Fischer by Burt Wallace 
and Charles J. W. Jerreld. The song was published re- 
cently and sent broadcast throughout the country by a 
concern in Westfield, Mass. 

The chorus, featuring Miss Fischer's name, is said 
to be particularly catchy from a musical viewpoint. The 
song is dedicated to Miss Fischer by the composers. She 
has accepted several offers to sing the ballad in a number 
of theaters in and about Los Angeles. 

Gov. Johnson a Film Fan 

Blood and thunder drama will not be eliminated 
from the moving picture shows, because Hiram Johnson, 
Progressive statesman and Governor of California, is a 
moving picture bug with a special weakness for blood 
and thunder films, says the Los Angeles Examiner. 

He is going to veto the Strowbridge bill which for- 



bids the depiction of holdups, crimes, battle scenes and 
shootings. The bill has passed the Senate and will prob- 
ably go through the Assembly. 

"I don't care if the bill passes both Houses, I will 
never let it become a law," the Governor has told its sup- 
porters. 

"Dominoes and Indian fights are the Governor's 
hobby. These and baseball once in a while," said one of 
those who is close to the gubernatorial throne today. 
"Why, he and Mrs. Johnson have been to see every mov- 
ing picture film that has come to Sacramento for two 
years. 

"It's the only way you can get him away from the 
office when he is working late." 



Evans Now a General Manager 

Tom Evans, the general manager of the Powers 
Photo Plays Inc., (his real title should be T. W. Evans 
but who would know him by that? Tom Evans fits him 
just right), is a genial and a very busy man, disgracefully 
young-looking to be the successful manager of such :i 
large concern. Mr. Evans made his start in the world of 
filmdom with the Pantograph Corporation in New York. 
Later, he handled the films for the Nestor Company in 
Chicago, looking after the western end for that concern. 
All this filled up seven aggressive years and then fol- 
lowed four and one-half years with Pat Powers. Mr. 
Evans has laid down his policy. It is simple and direct. 
Powerful classical plays, high class dramas, fairy tale 
features, clean comedies, sound actors and actresses, the 
finest of directors. 



Ambrosio Feature Coming 

Announcement is made this week by the Photo- 
Drama Company, 1476 Broadway, New York City, that 
it will shortly release Bulwer-Lytton's famous master- 
piece "The Last Days of Pompeii" in eight reels. This 
spectacular subject has just been completed at the Am- 
brosio studios in Turino, Italy and is extremely sensa- 
tional. 



Fined Six. Cents for Sunday Show 

Former Probate Judge J. O. Bergeron, of Norway, 
Mich., was fined 6 cents by a jury in justice court, re- 
cently for having his moving picture house open the 
previous Sunday night. He was arrested on the com- 
plaint of Rev. Levi Bird, of Norway. 

Louise Glaum Joins Kay-Bee Co. 

Miss Louise Glaum, clever leading woman with Nes- 
tor's Comedy Company, has joined the New York Mo- 
tion Picture Corporation and will work in their Kay-Bee 
and Broncho films, under the direction of Thomas H. 
Ince. 



The Pilot company now has two directors at work. 
Travers Vale, who has been with the company from its 
inception, is working on a three-reel feature. "The Streets 
of New York," and expects to continue turning out 
features for the company, which will be sold on a state 
rights basis. Robert Goodman, formerly with Melies 
and Majestic, is turning out one-reel subjects for the 
company. His first picture, "Sanitary Gulch," written by 
himself, will be released July 10, and is one of those 
comedies that keeps one laughing all the time. His next 
picture. "Granny," is a heart-interesting drama, in which 
Lottie Pickford plays the lead. The scenario for this 
picture was written by Miss Pickford. 



fuLY 12, 1913 



MOTOGRAPHY 



35 



Brevities of the Business 




Maurice 



Tobias. 



PERSONAL NOTES. 

JUST about seven years ago Maurice T. Tobias entered the 
motion picture field, and since then his rise in his chosen line 
has been rapid. He was born in New York City and obtained 
his schooling in that metropolis. He is a veteran of the Spanish- 
American war and perhaps it is due to this army training that 

competitors find him such a suc- 
cessful fighter in the struggle for 
new business. Along in 1906 Mr. 
Tobias entered the employ of the 
Greater New York Film Rental 
Company, and was with that con- 
cern for more than two years. 
The next year was spent as an 
employee of the Kleine Optical 
Company. From there he went to 
the Actograph Company, where 
the next three years were spent. 
On March 26, 1912, Mr. Tobias 
might have been found as an out- 
side solicitor for the Western 
Film Exchange of New York 
City and during this time made a 
record of signing up fifteen new 
accounts in one week. As a re- 
sult of his activity he was sent 
to Boston in June of that year to 
open an office for the Mutual Film 
Corporation in that city. Later 
Mr. Eslow was sent to succeed 
him and he was brought back to 
the office of the Western Film Exchange in New York City, 
and made manager, in September, a position which he still holds. 
Miriam Nesbitt and Marc MacDermott of the Edison Com- 
pany write from England that they are having the time of their 
lives. A week spent on the beautiful Thames gave Marc ample 
time in which to recover from that awful trip over, but he swears 
that he will never forget it. He is now busy trying to organize 
a British company to build a subway from London to New York 
so that he can return without repeating the same harrowing 
experiences. 

Frank McGlynn, fresh from his tremendous success in the 
Chicago production of "Officer 666," has joined the Edison 
players with whom he won wide popularity a year or so ago. 
Possessed of a virile personality, he has the faculty of "getting 
over" very forcibly on the screen, and from now on will be seen 
in a wide range of characters. His ability as an actor, coupled 
with his knowledge of the requirements of the work before the 
camera, makes him a particularly valued member of the already 
splendid array of Edison players. Another important acquisition 
to the Edison ranks is Dan Mason, famous as the character 
comedian in "The Man from Mexico," "Why Smith Left Home," 
"The Prince of Pilsen," and numerous vaudeville successes, who 
has already scored a big hit as "Professor William Nutt" in the 
film of that name. 

William West has returned from his trip to Georgia as a 
member of Charles M. Seay's Edison company. Mr. West re- 
ports a most enjoyable time with the slight exception of the loss 
of his pocketbook in the Atlanta station. He was descending 
the stairs to the train platform at the time and distinctly felt 
some one pushing him, but thought it was Herbert Prior urging 
him on. Prior, however, had been separated from him in the 
crowd, as he discovered too late. 

Thomas Ricketts, the first producer of the "Flying A" 
Company, is again back on the staff. The present line of ex- 
quisite American photography should make the future produc- 
tions of Mr. Ricketts stand out with telling effect. Mr. Ricketts 
came to the American with Jack Kerrigan in the fall of 1910, 
and his first production was "Romantic Redskins," the scenes 
of which were taken near St. Joseph, Mich. 

Dr. Laurel Muller, minister of affairs for the Brazilian 
republic, visited Chicago last week, was met at the depot by 
the representative of Gov. Dunne of the state of Illinois, who, 
after making a welcome address, turned him over to the enter- 
tainment committee of the Illinois Manufacturers' Association, 
who immediately organized a grand tour of the big local in- 
dustries. The committee and the distinguished guest were met 
at the train by artistically armed representatives of the Selig 
Polyscope Company, who imprisoned the welcoming scene in a 
moving picture. The entire party then adjourned to the Black- 



stone, where breakfast was discussed. Thence they went to 
the stockyards and spent the remainder of the day in downtown 
places of interest. In the evening a banquet was tendered to 
the distinguished guest at the South Shore Country Club, where 
the pictures that had been taken by the Selig experts in the 
morning were the moving sensation of the feast. One of these 
films has been ordered to be sent to the Brazilian government. 

Isidore Bernstein has resigned from the managership of 
the Monopole Film Company to become manager of the Pacific 
Coast studios of the Universal Film Manufacturing Company. 
He left New York on Saturday, June 28, joining Mr. J. C. 
Graham, general manager of the Universal Film Company, the 
latter returning to New York within a week or two. Mr. Bern- 
stein has been in the picture business a number of years and will 
be remembered as publicity man of the Republic and Yankee 
Film companies. For fourteen years he was in the employ of 
the Christian Herald and for seven years was superintendent 
of the Boys' Institute, a charitable and educational institution. 

C. Lang Cobb, Jr., and his better half, Agnes Egan Cobb, 
left New York Friday night on a film-selling Western trip. Their 
itinerary includes Buffalo, Detroit, Chicago, Kansas City and Cin- 
cinnati. Mr. Cobb will gather in orders for Ramo films, while 
Mrs. Cobb will close contracts for Union features, all of which 
means a large influx of orders for both firms represented. 

During the rehearsing of a scene in "The Mystery of Tusa," 
a forthcoming American release, Warren Kerrigan had a narrow 
escape from death. The producer had in mind a spectacular 
scene in which Kerrigan as a U. S. secret service operative is 
captured by bandits and bound hand and foot to a .wild horse. 
The horse selected for the scene was the most restive in the 
stables of the American company. He became startled and started 
to run, with the result that Kerrigan was jerked down an em- 
bankment where the rope entangled around a tree and broke. 
But for this Kerrigan might have sustained fatal injuries. Jack 
says "Never again !" 

Ben P. Schullberg of the Famous Players Company, with 
the new Mrs. Schullberg, honeymooned in Canada for the past 
two weeks. 

Joe Brandt, assistant treasurer of the Universal Film Com- 
pany, became the proud father recently of an eight-pound 
baby boy. 

Murray F. Beier, manager of the New York office of the 
Sedeg Feature Film Company, has resigned to start the Emby 
Feature Film Company, with offices at 145 West Forty-fifth 
street, New York City. 

Miss Mary O'Neil of Portland, Me., has been the guest of 
Miss Louise Vale at the Pilot studio for several days. 

Colonel Joe Smiley, director of the Lubin military stock 
company, celebrated his birthday recently. A goodly crowd 
assembled to offer congratulations and presents. Among the 
latter was a handsome walnut desk and bookcase and a diamond 
scarf pin. 

A change of personnel occurred in the Consolidated Film 
and Supply Company, one of the largest exchanges in the 
country, last week. H. J. Fitzjarrel, the former president, dis- 
posed of all of his stock and is no longer connected with the 
firm. Carl Laemmle, president of the Universal Film Manu- 
facturing Company, was elected to succeed Mr. Fitzjarrel. The 
leaves the present officers : Carl Laemmle, president ; William 
Oldknow, vice-president and general manager; C. R. Beacham, 
secretary and treasurer ; while the board of directors consists of 
Carl Laemmle, William Oldknow, C. R. Beacham, R. H. Cochran, 
P. D. Cochran and Herman Fichtenberg. 

They gown film productions just as accurately as they ever 
did stage productions nowadays. It is interesting to note in 
this connection that Miss Maude Fealy, starring in Thanhouser's 
"King Rene's Daughter," wore the very same lavender gown that 
Miss Ellen Terry did in her celebrated stage presentation of this 
piece. 

Rosemary Theby's next appearance will be in "A Hospital 
Romance," released on July 21 by the Reliance Company. Alan 
Hale with his six feet of blond manhood makes an excellent 
contrast for her dark style of beauty. Her following effort will 
be as an Italian girl in "Maria Roma," with Irving Cummings 
playing the opposite role. 

Jolly Lyllian Leighton, the well known and exceedingly 
talented comedienne and character woman of the Selig Chicago 
studios, is the happiest woman in the city of Chicago this week — 
for Lyllian has been paid a great honor. Last Saturday a long 
looked for event occurred in the Leighton home. The house is 



36 



MOTOGRAPHY 



Vol. X, No. 1 



occupied by Lyllian, her mother, her brother and her brother's 
wife. When Lyllian returned to her home from the studio in 
the afternoon she was met at the door by her excited brother. 
"My wife has just presented me with twins," he said breathlessly, 
"and we have named the girl Lyllian and the boy Leighton, in 
honor of you." And that is why Selig's plump player is so very, 
very happy. 

Winnifred Greenwood has completed her engagement with 
the Selig Chicago Company, and will rest for a few weeks be- 
fore accepting one of the many tempting offers she has received 
from other companies. 

Edgena de Lespine of the Reliance Company swung a long, 
sharp dagger to such good advantage in a scene in "Ashes" that 
she drew the claret from Irving Cummings in the very first 
round. Nearly fainted, too, just to be womanly. "Very real- 
istic," calmly remarked Director Oscar C. Apfel. 

"Buck" Connors, who takes the part of the line rider in 
"The Line Rider," a forthcoming Frontier release, had a spec- 
tacular battle with quicksands in the Rio Grande near Isleta, 
New Mexico, recently. "Buck" was supposed to ride into the 
stream and pull off a few spectacular stunts depicting the des- 
perate nature of the crossing. He started off with a flourish, 
but when in midstream his horse floundered into a real quick- 
sand, and from there on the struggle was a real one instead of 
make believe, for the animal sank into the quicksands above its 
haunches, and "Buck" had the fight of his life to save himself 
from being drawn under. After some strenuous work both horse 
and rider were rescued. 

Irene Howley was welcomed back to the Reliance studio 
after a two weeks' rest. "Half a Chance" proved a rather 
strenuous picture for Miss Howley, but she is back in the harness 
as good as new — and still good natured. 

Miss Irene Wallace, a former musical comedy artist, is now 
playing in Universal films being made at the Coytesville, New 
York, studios of that company. Her beautiful oval face, framed 
in a mass of blue-black hair, and complexion like peaches and 
cream, with arched brows and classic nose, make her one of the 
prettiest girls playing in Universal films, and, being a newcomer 
in pictures, the Universal offices have been recently flooded with 
inquiries as to her identity. 

"Ashes" will be the title of the Reliance feature following 
"The Tangled Web." "Ashes" is an unusual drama by Marion 
Brooks, in which Irving Cummings will be starred on July 12. It 
deals with five different love affairs in one man's life, and calls 
for character acting that would tax the ability of a Booth or 
Barrett. 

Kathlyn Williams has purchased from the Selig wild animal 
farm a full blooded leopard cub, of which she will attempt to 
make a house pet. The cub is two months old now, and Miss 
Williams has taken the fussy little cat to her California bunga- 
low, where it will be accorded the same treatment as would fall 
to the lot of a pedigreed Persian kitten or lap-dog. Miss Wil- 
liams is of the opinion that a leopard can be made as tractable as 
any other animal if removed from its savage environment and 
brought up amid domestic atmosphere. The other members of 
the company are watching "the fearless one's" experiment with 
a great deal of interest and many forebodings. 

Lem B. Parker of the Pacific coast branch of the Selig 
Polyscope Company was called to Chicago last week by the 
sudden death of his mother. 

William H. Hickey is on a flying tour of Chicago, Detroit, 
Toronto and Montreal. He will return to New York to attend 
the Exposition and then sail for London, where he is general 
manager of the Natural Color Kinematograph Company, Ltd., 
or "Kinemacolor." 

A private exhibition of the polo pictures was given by the 
Thomas A. Edison Company at their show rooms at 10 Fifth 
avenue, New York, to some of the members of the Meadow- 
brook Club. Among those present were Mr. and Mrs. H. L. 
Herbert, Mr. and Mrs. Frank Griswold, Mr. George Milburn, 
brother of Devereaux Milburn, the famous "back" of America's 
polo team, Mr. W. A. Hazard, secretary and treasurer of the 
Polo Association, Mr. H. H. Holmes, manager of Polo Club, 
Mr. Hugh A. Andrews, Pittsburgh, Pa., Mr. James Hare, the 
famous war correspondent of Collier's Weekly, Miss Cox, Miss 
Mearens and others. 

Eddie Shulter took up more than half of Tuesday night's 
regular Reliance meeting of heads of departments, talking about 
his plans for the carpenter ship, property rooms, and paint frames 
to be installed in the new studio. Eddie knows what he wants, 
and as Manager Ritchey says the sky is the limit, naturally Eddie 
is happy. 

Mr. Henry E. Rieff of the Lyric Theater and Mr. H. C. 
Kliehm of the Lawrence Theater, both of Pittsburgh, Pa., while 
attending the recent convention of the Motion Pictures Exhib- 
itors' State League of Pennsylvania at Philadelphia, made a 



flying trip to New York and spent most of the day at the Edison 
studio seeing "how it is done." They thoroughly enjoyed their 
glimpse "behind the scenes," and meeting in the flesh many of 
their screen favorites. The league elected Mr. Kliehm vice- 
president and Mr. Rieff treasurer for the coming year. 

Mr. Roy E. Aitken, managing director of the Western Im- 
port Company, Ltd., London, England, is now in New York City 
looking over the local situation and incidentally making a host 
of new friends by his sunny personality and charming manner. 
Mr. Aitken is very optimistic regarding the outlook on the 
other side of the water. He declares that the Keystone, Broncho 
and Kay-Bee films, for which his company is sponsor across the 
pond, are absolutely creating a sensation and fully living up to 
their American reputation. 

J. J. Robbins, general manager of the Essanay western com- 
pany, is on a short visit to the East, gathering information on all 
the latest improvements for the western studio. This is Mr. 
Robbins' first visit to the East in three years. 



ROLL OF STATES. 

ALABAMA. 

The Orpheum theater at Birmingham has been reopened 
under the direction of Manager Semon. 

ARKANSAS. 

The new airdome which has been under course of con- 
struction on Main street, Heber Springs, for the past several 
weeks is nearing completion. It will be 50x100 feet and will 
have a seating capacity of 600. 

CALIFORNIA. 

Architect C. H. Russell and F. Slingluff, Jr., his associate, are 
preparing plans for a brick, class C moving picture theater to be 
erected at Venice for H. E. Rose. It will have concrete foun- 
dation, 50x96 feet, brick and ornamental plaster exterior, and 
will cost about $15,000. 

ILLINOIS. 

J. B. Stine, former local merchant, has opened the Colonial, 
his new motion picture playhouse at Danville. The theater is 
located in the old Stine store in the McFerrell block. 

Chas. Burden, manager of the opera house, and Pat Whiting 
while in Chicago recently purchased a large moving picture 
machine and will run a moving picture show in the opera house 
at Tampico two nights a week. Mr. Whiting remained in Chi- 
cago to learn to operate the new machine. Mr. Burden says 
high-grade, first-class pictures will be shown. 

MARYLAND. 

Plans are being prepared for a new moving picture theater 
to be erected on the City Hall Plaza at the northwest corner of 
Lexington and Gay streets, Baltimore, adjoining Zion church 
and parish house. Negotions are now under way for the pur- 
chase of the lot. The men at the head of the enterprise are 
Garnett Y. Clark and Andrew J. Steen. 

MASSACHUSETTS. 

Patrick F. Shea will erect a new moving picture theater on 
Day street near Main street, Fitchburg, and he will manage same. 

Massachusetts Motion Picture Theater Company, Boston, 
$100,000. William H. McNiff, Jacob C. Morse. 

NEW YORK. 

The Ideal Film Service, Inc., Manhattan, motion pictures, 
capital $25,000, incorporators H. Rosenbaum, C. M. Shacofsky, 
H. Brown, New York City. 

Plans have been filed for the erection of a moving picture 
theater at No. 1592 Genesee street, Buffalo, by Bernard Voh- 
winkel. The estimated cost of the theater is $40,000. With the 
plans was a petition from the owner to the council to erect the 
theater. The building is to replace the present theater operated 
by Vohwinkel. 

Acorn Photo Play Company, Inc., East Orange, operate 
moving picture and photo play houses, capital $25,000. Incor- 
porators, R. Levy, East Bayonne ; C. Raab, Newark ; M. F. 
Drewes, East Orange. 

Work on the construction of a new moving picture theater 
at Phelps, will be started by Chas. H. Garlock. 

On the_ east side of Broadway, New York City, 33.6 feet 
north of Ninety-fourth street, is to be erected a two-story fire- 
proof moving picture theater for the Alwold Realty Company 
as lessee. It will have a frontage of 42 feet and a depth of 138.2 
feet, and will have a facade of brick and terra cotta. Eugene 
Higgins is the owner of record. John C. Watson, the architect, 
has estimated the cost at $25,000. 

Charles Farrell has prepared plans for motion picture 
theater to be built at the corner of Broadway and Michigan 
streets, Buffalo, at a cost of $20,000. 

The Nassoy Amusement Company will erect a moving pic- 
ture theater at Pennsylvania street and Prospect avenue, Buffalo. 

B. F. Keith will erect a moving picture theater on Ninth 
street near Fifth avenue, Brooklyn, which will be ready January 1. 



July 12, 1913 



MOTOGRAPHY 



37 



Complete Record of Current Films 

Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker, 
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs. 
Films will be listed as long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possiWf. 
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be 
obtained of the manufacturers. 



LICENSED 



DRAMA. 
Date Title Maker 

6-21 The Jury's Verdict Patheplay 

6-21 'Arriet's Baby Vitagraph 

6-23 The Detective's Trap Kalem 

6-23 Rustic Hearts Lubin 

6-23 The Lion's Bride Vitagraph 

6-23 The Snare of Fate Vitagraph 

6-24 Where Shore and Water Meet Edison 

6-24 Across the Rio Grande Essanay 

6-24 The Marshal's Capture Selig 

6-25 Easy Payments Essanay 

6-25 The Struggle Kalem 

6-25 The Hunger of the Heart Patheplay 

6-26 In Diplomatic Circles Biograph 

6-26 The Other Woman Lubin 

6-26 The Sultan's Dagger Melies 

6-26 When Men Forget Selig 

6-26 Her Sweetest Memory Vitagraph 

6-27 A Villain Unmasked Eclipse 

6-27 Fortune Smiles Edison 

6-27 Witness " A- 3 Center" Essanay 

6-27 The Cloak of Guilt Kalem 

6-27 A Western Romance Selig 

6-28 Her Mother's Oath Biograph 

6-28 Broncho Billy's Strategy Essanay 

6-28 Out of the Jaw's of Death Kalem 

6-2S The Love Test Lubin 

6-28 The Second Shot Patheplay 

6-28 The Trapper's Mistake Patheplay 

6-30 A Gamble With Death Biograph 

6-30 The Story of the Bell Edison 

6-30 A Fight to the Finish Kalem 

6-30 The Penalty of Crime Lubin 

6-30 Her Atonement Lubin 

6-30 The Beaded Buckskin Bag Selig 

7-1 The Patchwork Quilt Edison 

7-1 Her Husband's Picture Lubin 

7-1 The Miracle of the Roses Patheplay 

7-1 Songs of Truce Selig 

7-2 The Strongest Link Essanay 

7-2 The Raiders from Double L Ranch Kalem 

7-2 Asahi and the Baby Selig 

7-2 The Missionary's Triumph Patheplay 

7-2 The Song Bird of the North Vitagraph 

7-2 The Tiger Lilly Vitagraph 

7-3 The Life We Live Essanay 

7-3 The Angel of the Slums Lubin 

7-3 In God We Trust Selig 

7-3 Sweet Deception Vitagraph 

7-4 A Gentleman's Gentleman Edison 

7-4 A Victim of Deceit Kalem 

7-4 Shenandoah Kalem 

7-4 Sally's Sure Shot Selig 

7-4 An Unwritten Chapter Vitagraph 

7-5 The Sorrowful Shore Biograph 

7-5 The Signal Edison 

7-5 At the Lariat's End Essanay 

7-5 The Hidden Witness Kalem 

7-5 His Niece from Ireland Lubin 

7-5 The Miner's Destiny Patheplay 

7-7 The Forbidden Way Essanay 

7-7 A Stolen Identity Kalem 

7-7 The Mysterious Hand Lubin 

7-7 The Trail of Cards Selig 

7-7 The Clove Vitagraph 

7-8 The Daughter of the Sheriff Essanay 

7-8 The Profits of the Business Lubin 

7-8 The Airman's Bride ' Patheplay 

7-9 The Outer Shell Essanav 

7-9 The Treachery of a Scar Kalem 

7-9 A Hero Among Men Lubin 

7-9 The School Ma'am Patheplay 

7-10 The Enemy's Baby Biograph 

7-10 His Chinese Friend Melies 

7-10 Made a Coward Selig 

7-10 The Carpenter Vitagraph 

7-11 The Statue of Fright Eclipse 

7-11 In the Old Dutch Times Edison 

7-11 The Sign Essanay 

7-11 On Her Wedding Day Lubin 

7-11 Btidd Doble Comes Back Selig 

7-11 A Spirit of the Orient Vitagraph 

7-12 The Mistake Biograph 

7-12 The Diamond Crown Edison 

7-12 Broncho Billy and the Western Girls E?sanay 

7-12 Rounding Up the Counterfeiters Kalem 

7-12 Her Only Boy Lubin 

7-12 A Wild Ride" Selig 

7-12 The Moulding Vitagraph 

COMEDY. 

6-20 Cupid's Lariet Kalem 

6-20 Smoked to a Finish Kalem 

6-20 Delayed Proposal Vitagraph 



Length 
1,000 
1,000 
1,000 
1,000 
1,000 
3,000 
980 
1,000 
1,000 
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2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
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1,000 
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1,000 
2,000 
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500 
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1,000' 
1,000 
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500 
500 
500 



Date. 
6-21 
6-23 
6-23 
6-23 
6-24 
6-24 
6-24 
6-25 
6-25 
6-25 
6-25 
6-25 
6-26 
6-26 
6-27 
6-27 
6-27 
6-28 
6-28 
6-28 
6-30 
7-1 
7-1 
7-2 
7-3 
7-3 
7-3 
7-4 
7-4 
7-4 
7-5 
7-5 
7-7 
7-7 
7-7 
7-8 
7-8 
7-8 
7-9 
7-9 
7-9 
7-9 
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7-10 
7-10 
7-10 
7-11 



6-24 

6-24 

6-27 

6-28 

7-2 

7-3 

7-4 

7-11 

7-12 



6-23 

6-25 

6-27 

7-1 

7-2 

7-4 

7-7 

7-8 

7-12 



6-23 

6-23 

6-26 

6-30 

7-3 

7-7 

7-10 

7-11 



Title • Maker. I 

Alkali Ike and the Hypnotist Essanay 

A Compromising Complication Biograph 

Mister Jefferson Green Biograph 

A Taste of His Own Medicine Edison 

At the Telephone Lubin 

The Zulu King ..Lubin 

No Sweets Vitagraph 

How Did it Finish ? Edison 

The Knight of Cyclone Gulch Kalem 

Curing Her Extravagance Kalem 

Papa's Dream Selig 

Jack's Chrysanthemum Vitagraph 

The Divided House Essanay 

Clarence the Cowboy Patheplay 

Bob Buys An Auto Lubin 

The Beaut from Butte Lubin 

One Good Joke Deserves Another Vitagraph 

Circumstances Make Heroes Edison 

One Over on Cutey Vitagraph 

Cloisonne Ware Vitagraph 

Roughing the Cub Vitagraph 

Retaggel and the Drummer's Umbrella Essanay 

Bingles and the Cabaret Vitagraph 

All on Account of a Portrait Edison 

Faust and the Lily Biograph 

An Old Maid's Deception Biograph 

The Joy Ride Patheplay 

What's the Matter With Father Essanay 

The Waiter's Strategy Lubin 

The Wrong Hand Bag Lubin 

A Modern Garrick Patheplay 

Love's Quarantine Vitagraph 

A Sea Dog's Love Biograph 

The Noisy Suitors Biograph 

Winsome Winnie's Way Edison 

Old Doc Yak Selig 

A Jolt for the Janitor Selig 

Count Barber Vitagraph 

His Mother-in-Law's Visit Edison 

The Reformation of Dad Selig 

A Millinery Bomb Vitagraph 

Solitaires Vitagraph 

A Flurry in Diamonds Essanay 

When Love Loses Out Lubin 

Building a Trust Lubin 

Hannigan's Harem Patheplay 

Entertaining Uncle Kalem 

EDUCATIONAL. 

The Carrier Pigeons Patheplay 

How a Blossom Opens Patheplay 

The Spotted Elephant Hawk Moth Patheplay 

The Flv Edison 

The Sultan of Sulu Selig 

The Rice Industry in Japan Melies 

The Consecration of a Buddhist Priest Patheplay 

Porcelain Patheplay 

Dynamite, the New Farm Hand Patheplay 

SCENIC. 

The Pyramids and the Sphinx, Egypt Edison 

The City of Gold Selig 

Athens Patheplay 

Sight Seeing in Japan Vitagraph 

Historic New York Kalem 

Pisa (Italy) and Its Curious Monuments Patheplay 

Over the Great Divide in Colorado Edison 

Scenes of Other Days Edison 

A Little Trip Along the Hudson Patheplay 

TOPICAL. 

Pathe's Weekly No. 26 Patheplay 

The Kentucky Derby at Churchill Downs Selig 

Pathe's Weekly No. 27 Patheplay 

Pathe's Weekly No. 28 Patheplay 

Pathe's Weekly No. 29 Patheplay 

Pathe's Weekly No. 30 Patheplay 

Pathe's Weekly No. 31 Patheplay 

Cosmopolitan New York Kalem 



ength. 

1,000 

500 

500 

700 

400 

600 

1,000 

980 

500 

500 

500 

1,000 

1,000 

1,000 

400 

600 

1,000 

600 

870 

130 

1,000 

1,000 

700 

1,000 

500 

500 

1,000 

1,000 

400 

600 

1,000 

1,000 

500 

500 

500 

500 

500 

1,000 

1,000 

1,000 

500 

500 

1,000 

400 

600 

1,000 

500 



700 
300 
600 
400 

500 
1,000 

600 
1,000 

500 



300 
500 
400 
300 
500 
400 
500 
1,000 
500 



1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
500 



DAILY LICENSED RELEASES 

MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita- 
graph. 

TUESDAY: Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig, 
Vitagraph. 

WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe, 
Selig, Vitagraph. 

THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig, 
Vitagraph. 

FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita- 
graph. 

SATURDAY: Edison, Essanay, Cines-Kleine, Kalem, Lubin, 
Pathe, Vitagraph. 



38 



MOTOGRAPHY 



Vol. X, No. 1 



INDEPENDENT 



Date 

6-29 

6-30 

6-30 

6-30 

6-30 

6-30 

7-1 

7-1 

7-1 

7-1 

7-2 

7-2 

7-2 

7-2 

7-3 

7-3 

7-3 

7-3 

7-4 

7-4 

7-4 

7-4 

7-4 

7-5 

7-5 

7-5 

7-6 

7-6 

7-7 

7-7 

7-7 

7-7 

7-8 

7-8 

7-8 

7-8 

7-9 

7-9 

7-9 

7-9 

7-9 

7-10 

7-10 

7-10 

7-11 

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7-11 

7-11 

7-11 

7-11 

7-12 

7-12 

7-12 

7-12 

7-12 
-13 
-13 



7-13 



6-29 

6-29 

6-29 

6-30 

6-30 

7-1 

7-2 

7-2 

7-2 

7-3 

7-3 

7-3 

7-3 

7-4 

7-4 

7-4 

7-4 

7-5 

7-5 

7-5 

7-5 

7-5 

7-5 

7-6 

7-6 

7-6 

7-7 

7-7 



DRAMA. 

Title Maker 

Draga, the Gypsy Rex 

Quicksands American 

Her Father's Choice Reliance 

The Ticket of Leave Man Dragon 

The Old Melody Imp 

An Indian Nemesis Nestor 

King Rene's Daughter Thanhouser 

The Golden Jubilee Majestic 

The Battle of Manila Bison 

An Hour of Terror Crystal 

All Rivers Meet at Sea Broncho 

Dick's Turning Reliance 

The Range Dead Line Nestor 

The Witch Eclair 

The Pride of Lonesome American 

The Code of the U. S. A Pilot 

A Woman's Folly Rex 

The Secret of Padre Antonio Frontier 

The Crimson Stain Kay Bee 

Her Two Jewels Thanhouser 

True Hearts Solax 

The Shifting Fortune Victor 

The Heart of Hernanda Powers 

Death's Short Cut Reliance 

Tale of Death Valley American 

At Shiloh Bison 

The Shadows of the Past Majestic 

Suspense Rex 

A Rural Romance Reliance 

The Ticket of Leave Man Dragon 

His Mother's Birthday Imp 

The Proof of the Man Nestor 

For the Man She Loved Thanhouser 

One of the Finest Majestic 

The Powder Flash of Death Bison 

True Chivalry Crystal 

Grand-Dad Broncho 

The Wager Reliance 

Man and Woman Ramo 

John, the Wagoner Nestor 

The Trail of the Hanging Rock Eclair 

The Foreign Spy American 

The Wop Imp 

Beauty and the Beast Rex 

The Banshee Kay Bee 

An Errand of Mercy Thanhouser 

As the Bell Rings Solax 

The Train on Fire Lux 

Morgan's Treasure Powers 

A Modern Witness Victor 

Ashes Reliance 

In the Hands of Conspirators Ambrosio 

The Ingrate Majestic 

The Head Hunters Bison 

The Line Rider's Sister Frontier 

A Crepe Bonnet Thanhouser 

Impulse Majestic 

Through Strife Rex 

COMEDY. 

Who Is in the Box? Crystal 

Mrs. Sharp and Miss Flat Crystal 

He Was Not 111, Only Unhappy Eclair 

For the Love of Mabel Keystone 

Mistaken Intentions Gem 

Sauce for the Goose Gaumont 

I'm No Counterfeiter Ramo 

An Unexpected Meeting Solax 

The Quarter Meter Powers 

Rastus and the Game Cock Keystone 

Tricks in All Trades Gaumont 

Funnicus at the Fire Mutual 

Jane Marries Imp 

Pat Gets on the Trail Lux 

An Easy Day Lux 

He and Himself Nestor 

To the Brave Belong the Fair Nestor 

Winning a Prize Great Northern 

Gaffney s Gladiator Majestic 

Leo, the Indian Imp 

Lightning Sketches by Hy Mayer Imp 

A Rose at Sixteen Frontier 

A Cactus at Forty-five Frontier 

The Girl Reporter Crystal 

Muchly Engaged Crystal 

In the Night Eclair 

Safe in Jail Keystone 

Billy, the Wise Guy Gem 



Length 

1,000 
2,000 
1,000 
1,000 
2,000 
1,000 
3,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
3,000 
1,000 
1,000 
1,000 
1,000 
3,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
2,000 
1,000 
2,000 
1,000 
2,000 
1,000 
1,000 
3,000 
2,000 
1,000 
1.000 
1,000 
2,000 
1,000 
2,000 
2,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 



500 

500 

500 

1,000 

500' 

500 

1,000 

1,000 

500 

1,000 

1,000 

500 

1,000 

410 

537 

500 

500 

500 

1,000 

50O 

500 

500 

500 

500 

500' 

500 

1,000 

1,000 



DAILY "MUTUAL" RELEASES 

(Independent.) 
MONDAY: American, Keystone, Ramo. 
TUESDAY: Majestic, Thanhouser. 

WEDNESDAY: Broncho, Mutual Weekly, Reliance, Ramo. 
THURSDAY: American, Mutual, Keystone, Pilot. 
FRIDAY: Kay-Bee, Thanhouser. 
SATURDAY: American, Reliance, Ambrosio. 
SUNDAY: Majestic, Thanhouser. 



Date. Title. Maker. Length. 

7-8 His Master's Voice Gaumont 500 

7-9 The Flea Circus Solax 1,000 

7-9 Elsa's Aunt Powers 1,000 

7-10 The Tell-Tale Light Keystone 1,000 

7-10 The Trombone Marathon Gaumont 1,000 

7-10 Funnicus and His Mother-in-Law Mutual 50O 

7-10 Sanitary Gulch Pilot 1,000 

7-10 The Frontier Twins Start Something Frontier 1,000 

7-11 Four Queens and a Jack Nestor 500 

7-11 When He Wore the Blue Nestor 500 

7-12 The Song of the Soup American 500 

7-12 The Jolly Recruits Great Northern 1,000 

7-12 Oh, You Flirt Imp 500 

7-12 Lightning Sketches by Hy Mayer Imp 500 

7-13 Pearl's Dilemma Crystal 500 

7-13 Squaring Things with Wifey Crystal 500 

7-13 It Is Hard to Please Him Eclair 500 

EDUCATIONAL. 

6-29 Torpedo Fish Eclair 500 

7-1 Atom Life in the Deep Gaumont 500 

7-6 How Diamonds Are Made Eclair 500 

7-8 The Making of Tapestry Gaumont 500 

7-12 A Garden Party in California American 500 

7-13 The Catholic Mission Eclair 500 

SCENIC. 

6-30 Teak Wood Gem 500 

7-3 A Japanese Garden Mutual 500 

7-7 San Francisco, The Dauntless City Amercan 1,000 

7-10 Saigon Mutual 500 

TOPICAL. 

7-2 Animated Weekly No. 69 Universal 1,000 

7-2 British-American Polo Match Powers 500 

7-2 Mutual Weekly No. 27 Mutual 1,000 

7-2 Gaumont Weekly No. 69 Gaumont 1,000 

7-9 The Animated Weekly No. 70 Universal 1,000 

7-9 Mutual Weekly No. 28 Mutual 1,000 

7-9 Gaumont Weekly No. 70 Gaumont 1,000 



KINEMACOLOR 



DRAMA. 

Disillusioned Kinemacolor 

East and West Kinemacolor 

Mission Bells Kinemacolor 

Love and War in Toyland Kinemacolor 

COMEDY. 

A Narrow Escape Kinemacolor 

A Family Affair Kinemacolor 

TOPICAL. 

Shriner's Parade and Sports, Los Angeles, Cal., 1912. Kinemacolor 
Life on Board An American Man-o-War Kinemacolor 



2,900 
2,845 



MISCELLANEOUS FEATURES. 



Date. Title Maker. Length 

5-15 The Dread of Doom Itala Features 3,000 

Their Lives by a Thread (Satax) Warner's Features 3,000 

The Eye of a God (Pyramid) Warner's Features 3,000 

6-15 The Fatal Giotto Itala Features 2.000 

James K. Hackett in Prisoner of Zenda Famous Players 4,000 

The Man in the White Cloak Great Northern Special 3,000 

Zingomar III Union Features 3,000 

The Wife of Cain Helen Gardner Features 

Satan Ambrosio Feature 3,000 

When Men Hate (Gene Gautier) Warner's Features 3,000 

In the Claws of the Vulture Ambrosio Feature 3,000 

In the Toils of the Devil Monopol 2,500 

In Touch With Death Gaumont 3,000 

Zoe, or A Woman's Last Card ....Hecla 3,000 

Her Supreme Sacrifice Warner's Features 3,000 



DAILY EXCLUSIVE RELEASES 

(Independent.) 

MONDAY: Dragon. 
TUESDAY: Gaumont. 
WEDNESDAY: Solax, Gaumont. 
THURSDAY: Gaumont. 
FRIDAY: Solax, Lux. 
SATURDAY: Great Northern. 



DAILY UNIVERSAL RELEASES 

(Independent.) 
MONDAY: Imp, Nestor, Gem. 
TUESDAY: Bison, Crystal. 

WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers. 
THURSDAY: Imp, Rex, Frontier. 
FRIDAY: Nestor, Powers, Victor. 
SATURDAY: Imp, Bison, Frontier. 
SUNDAY: Crystal, Eclair, Rex. 



(VfoToGBSPtaf 




EXPLOITING 




Vol X 



CHICAGO, JULY 26, 1913 



No. 2 



MARY FULLER 
WITH EDISON 




■i.llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll!llllllllllll1lllllllllllllllllllllllllllllllllllllllllli: 



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Your Particular 

Attention is Invited — 

To the Announcement that 
beginning Tuesday, August 12 — 

George Kleine will Release a 

Two-Reel Feature every 

Tuesday ! 

You appreciate the importance of that statement — 

You understand, full well, its significance as applied 
to crowded houses and delighted audiences — 

You are well acquainted with Kleine Multiple Reel 
Subjects --we believe, — and we think that you 
believe — no finer subjects ever saw a carbon light! 

The wonderful house that made "QuoVadis" offers 
you the rare product of its genius, hence — 

,J3ook That Kleine Two-Reel 
Feature Every Tuesday ! 



George Kleine 

1 66 N. State Street -:- Chicago 



=~Tl ItElllltlll llllllllflllllltllll}lil)]^]j|]f} lll'flllllllllllllllllll'fll llltlllJIIIIIlJ Flllllltlllll lllllilllllilliritiiiliitliliiilil ■ l^-r 



July 26, 1913 



MOTOGRAPHY 




RAMO FILMS 



THE NEW FILM OF QUALITY 



Copyright 1913 Wray Physioc 



All Produced by 

WILL S. DAVIS 

Director 



R 
E 


July 23 


THE SILENT HOUSE 


Drama 


L 


July 30 


I SHOULD WORRY 


Comedy 


E 
A 


Aug. 6 


CHECKERED LIVES 


Drama 


S 


Aug. 13 


LOVE AND GOLD 


Drama 


E 

S 


Aug. 20 


THE WORKER— 2 Reels 


Drama 



o 

N 
E 
EVERY 
W 
E 
D 
N 
E 
S 
D 
A 
Y 



R AMO'S PERFECT STUDIOS 102 ^SSS*" 1 



u 



wmmMmmmioioiQwmmmiwmmmmmM@^m< 



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LUBIN FILMS 



July 21 "AN ACTOR'S STRATEGY" 4 

An actor furnishes a job lor the Sheriff 
July 22nd "THE BENEFACTOR" 

A rich lesson taught by a socialist 
July 24th "COFFEE INDUSTRY IN JAMAICA" 

Very interesting; and educational 
July 24th "ZEB, ZACK AND THE ZULUS" 

The terrible experiences of two Missionaries 
July 25th "THE EXILE" 

Beautiful story of self sacrifice. 
July 26th "THE PRICE DEMANDED" 
A melodrama of very high order 


July 28th "THE WIDOW'S WILES" 

The Widow works a ruse for the young folks 
July 28th "RASTUS AMONG THE ZULUS" 

The horrible dream of a Hobo 
July 29th "THE CALL OF HER HEART" 

A tragedy of the high seas 
July 31st "THE FATAL SCAR" 

A melodrama of old Mexico — very intense 
August 1st "THE NEW GOWN" 

Tight-wad husband is taught a good lesson 
August 2nd "THE MESSAGE OF THE ROSE" 

Excellent love story of the Mexican war 


SPECIAL 
PICTURE 


THE 50th ANNIVERSA 
GETTYSBURG, C 

1000 foot reel of interesting pictures 


RY OF THE BATTLE OF 
rETTYSBURG, PA. 

of the great reunion taken on the field 


Released 
Tues. July 8th 



Special— Two Reel 



"HOME SWEET HOME' 



Wednesday, July 23rd 



A beautiful story of true loving hearts full of pathos. John Barbour and his sweet wife, Nell, being well to do did not like to see Pa 
and Ma Barbour living in a humble cottage in the Country, while they were enjoying a luxurious Mansion. They dismantle the old folk s 
home and send the sticks to the second hand shop. Pa and Ma tried to enjoy the new atmosphere, but it was not the old home. They 
were caught by stealth buying the old furniture back. John and Nell saw their mistake and giving in, restored the village cottage with 
only one addition, a telephone. 



Special— Two Reel 




"A DASH FOR LIBERTY" 

A Melodrama that will thrill and be long remembered 



Wednesday, July 30th 



Beautiful one, three and six sheet posters of our Photo Plays, In five colors, can be -obtained from your 
:hai^e or the A. B. C. Co., Cleveland, Ohio. Photos by the Kraus Mfg. Co., 14 East 17th St., New York. 



LUBIN MANUFACTURING CO 



PHILADELPHIA 
U.S.A. 



®®®i(M)®^ 




Jus' say, "I saw it in MOTOGRAPHY." Thank you. 




Scene from Sclig- "M LO Nights." Lower View, Scene from Selig'a "A Ma oi M 



WITH WHICH IS INCORPORATED THE NICKELODEON 



CHICAGO, JULY 26, 1913 



PUBLISHED BI-WEEKLY BY 

ELECTRICITY MAGAZINE CORPORATION 

MONADNOCK BUILDING, CHICAGO 



Telephones: Harrison 3014 — Automatic 61028 



Ed J. Mock and Paul H. Woodruff Editors 

Neil G. Caward Associate Editor 

Mabel Condon Associate Editor 

Allen L. Haase Advertising Manager 



Entered as second-class matter at the postoffice at Chicago, Illinois, under 
act of March 3, 1879. 



TERMS OF SUBSCRIPTION 

United States, Cuba, and Mexico Per year, $2.00 

Canada Per year, 2.50 

Foreign countries within the Postal Union Per year, 3.00 

Single copy 10 



NOTICE TO ADVERTISERS 

Changes of advertising copy should reach the office of publication not 
less than fifteen days in advance of date of issue. Regular date of issue, 
every other Saturday. New advertisements will be accepted up to within ten 
days of date of issue, but proof of such advertisements can not be shown 
in advance of publication. 



NOTICE TO SUBSCRIBERS 

Remittances — Remittances should be made by check, New York Draft 
or money order, in favor of Motography. Foreign subscriptions may be 
remitted direct by International Postal Money Order. 

Change of Address — The old address should be given as well as the 
new, and notice should be received two weeks in advance of the desired 
change. 



This publication is free and independent of ail business or house con- 
nections or control. No manufacturer or supply dealer, or their stock- 
holders or representatives, have any financial interest in Motography or any 
voice in its management or policy. 



CHICAGO, JULY 26, 1913 



TABLE OF CONTENTS 

Scenes from two Selig features Frontispiece 

Editorial 39-40 

One Association or Two ? 39 

The Rise of the Pictures 40 

The League' Big Five-Day Convention 41-46 

A Thrilling Pathe Special 46 

The International Motion Picture Association .' 47-49 

Ritchie Praises "Her Rosary" 49 

Exposition of the Motion Picture Art 50-52 

Entertaining the Convention Visitors 53-54 

From Mabel Condon's Viewpoint 55-56 

Photoplaying Under Water • 56 

Sans Grease Paint and Wig. By Mabel Condon 57 

Prominent Exhibitors 58 

Popular Magazine Story Filmed 59-60 

Motography's Gallery of Picture Players 61 

Just a Moment Please 62 

"King Robert of Sicily" 63-64 

"The Ne'er to Return Road" 65-66 

Forbes Robertson's "Hamlet" 66 

"The House of Mystery" 67 

A Visit to the Cines Plant in Rome 67 

A Versatile Leading Woman 68 

Motion Picture Making and Exhibiting. By John B. Rathbun 69-72 

Of Interest to the Trade 73-76 

Warner's "Theodora" 73-75 

An Indian Star - 74 

The World Entertains 74 

Venus Features 74-75 

"From Out the Depths" 75 

Waiting for "Arizona" 76 

Pearl White to Tour Europe 76 

Brevities of the Business 77-78 

Complete Record of Current Films 79-80 



ONE ASSOCIATION OR TWO? 

MOTION picture associations seem predestined to 
suffer internal dissention. Perhaps it is an essen- 
tial characteristic of the restless activity, the compressed 
vitality of the industry to manifest itself in occasional 
explosive upheavals. Early in the history of the busi- 
ness its men gathered together and organized them- 
selves for social and industrial co-operation. Each time 
the knots of business brotherhood were broken — not un- 
tied — by some internecine revolution. The important 
point is that none of these fraternal disasters has affected 
the constant progress of the motion picture. 

It is with the deepest regret that we find it neces- 
sary to record the sundering of the Motion Picture Ex- 
hibitors' Eeague of America. In two years this body 
has become a power in the business. It has had at all 
times an unstinted measure of the time and energy of the 
i idustry's best minds. The nature of its co-operation 
promised the permanency of all its associations. There- 
fore we deplore the necessity, if necessity there was, for 
a secession from its ranks. 

The International Motion Picture Association, in 
withdrawing from the Motion Picture Exhibitors' League 
of America, took with it much of the League's best. Per- 
haps it should be congratulated upon this, for without 
merit it could not have done so, and its earnestness is 
without question. Nor can we doubt its ability, for the 
same reasons, to maintain itself as a distinct body. 

Our regret, then, arises from the fact that a split 
in any organization is regretable. Whatever the merits 
of either party, or the demerits of the other, it is obvious 
that neither can be as strong as the original one. "Unit- 
ed we stand, divided we fall," is not literally true, but 
it expresses in hyperbolic fashion a fundamental truth. 

There is, of course, already existent one logical 
division in the motion picture field. We have, as recog- 
nized factors of almost equal strength, the licensed and 
the independent exhibitors, renters and makers. While 
it has been predicted time and again that even this con- 
dition would not last, but that all would become ulti- 
mately either licensed or independent, there is no evi- 
dence today of such an outcome. So perhaps two as- 
sociations, one comprised of licensed exhibitors and the 
other of independent, would have at least a motive for 
existence. This arrangement, however, is not indicated 
in the present dividing line between the League and the 
Association. 

It would even be possible for hearty co-operation 
between a licensed and an independent association, at 
least in matters not political. Quite likely analysts of 
such a situation would be able to find many an objection- 
able feature. There would probably be a good deal of 
rivalry and some interference, while the exhibitor who 
changed his service from one faction to the other and 
back again might find himself in something of a quan- 
dary as to which association he properly belonged to. 

But we will not dwell upon hypothetical and pos- 
sibly chimerical obstacles. They could hardly be great- 
er than those which must confront one or the other of 



40 



MOTOGRAPHY 



Vol. X, No. 2 



two associations with quite similar purposes. We can- 
not favor either one, the League or the Association, to 
the exclusion of the other. Since both now exist, we 
would like to see both succeed; but that hardly seems 
humanly possible on present lines. To afford proper 
scope for development, one must absorb the other, or 
their policies be differentiated. Licensed and independ- 
ent associations provide not a wholly satisfactory solu- 
tion, but seemingly the lesser of two evils if both asso- 
ciations must continue — which both at this writing, are 
determined to do. 

Inter-industrial warfare is always interesting to 
participants and bystanders; it stirs up a great deal of 
activity and makes lots of copy for the trade papers. But 
it is bound to be futile, extravagant and destructive, and 
is to be avoided if possible. Two associations with the 
same thought means warfare. There are at least two 
ways to avoid it, to the continuation of good will and co- 
operation throughout the entire motion picture business 
of this country. 



spend for less worth)' indulgence the money that is shoved into 
the window at the moving picture show. The whole family gets 
its share in the entertainment that is bought with money that, 
in many instances, formerly went to places where it would bet- 
ter not have gone. 

And the Omaha Bee of Omaha, Neb., comments : 

Seeing moving picture shows springing up on every hand, 
we are ill-prepared to question the correctness of these figures, 
stupendous as they are. Everyone knows that the popularity of 
the pictures has been prodigious. It is time, now that they seem 
to have proved their permanency, to stop and think of the many 
ways in which the moving pictures can be made to serve serious 
ends in life. Of course, they are not serving those ends in simply 
providing entertainment, though if discriminating that is not cen- 
surable. But could we afford the time and money spent in main- 
taining such an institution unless it came up to its possibilities of 
usefulness? 

The moving picture has a wide field of usefulness in the 
realm of education and no time must be lost in projecting it 
into that field. It may be employed to great advantage in the 
school, the church and Sunday school and on the platform as an 
educational factor. Looking at it as a potential element in the 
life of today and tomorrow, it surely can be forgiven, or, at 
least, tolerated, for any of its present shortcomings. 



THE RISE OF THE PICTURES. 

THE Associated Press recently carried a news story to 
the effect that statisticians had completed their figures 
covering the receipts and attendance at motion picture 
theaters during the past year. This story caused many 
papers to comment editorially upon the result shown and 
below we quote from two or three clippings that have 
recently been received. 

The Amarillo, Texas, News says : 

According to a news story out of New York statisticians 
have just completed a count of all the nickels which have been 
spent during the past year to see the moving picture shows in 
the United States. 

The grand total shows an expenditure of 6,380,000,000 nick- 
els, or $319,000,000 paid by spectators. Try that on your Bur- 
roughs and then throw up the job. 

It isn't the intention of the News to calculate how many 
times such a string of nickels would belt the world. The pur- 
pose of reprinting these figures is to show how important a part 
the moving pictures play in the amusement life of the time. 

When the pictures were first put before the American pub- 
lic, it was predicted that they would be a fad for a time, then 
run their course. But the prediction failed. Instead, the mov- 
ing picture offerings threaten to supersede legitimate and more 
expensive theatrical offerings, and as they furnish clean, whole- 
some entertainment at a nominal price, it is within the province 
of the humblest citizen to see them. 

The growth of the industry, for such it may be termed, is 
little short of marvelous. And when it is taken into considera- 
tion that development of the system by which films are made is 
still under way, that time will bring us moving pictures in the 
most appealing colors from nature, improvements now only 
dreamed of, one may well wonder to what perfection this form 
of entertainment may be brought. 

The New York Press says : 

The figures are stupendous ; yet who can doubt, after the 
most casual glance at the streets of any town, with picture show 
establishments occupying scores and scores of well-situated 
buildings, that this business has reached proportions which make 
it, along with the automobile development and the general dis- 
position toward luxury and amusement, a real social and eco- 
nomic factor? 

It is said that $80,000,000 is invested and 200,000 people are 
employed in the industry. Of course, there must be economic 
readjustments to such conditions. In behalf of the automobile 
as a pleasure vehicle, it is pointed out that a good many people 
spend less money for homes; that they don't stay in so much as 
they used to before they were spending their time in automobile 
and the fresh air; that their health is bettered; that the tend- 
ency to live in the country is stronger among city people, and 
that the pleasures and satisfactions of country life are vastly in- 
creased by the privilege of haying neighbors and social oppor- 
tunities. In short, the automobile makes a good showing of eco- 
nomically and socially paying its way. 

Similarly the moving pictures, People by the millions don't 



FILMS TO INSTRUCT FARMERS. 

When the Iowa State College extension lecturer 
starts out on his short course trips next winter, he will 
pack the prize cattle from the college farm in his grip 
in a set of moving picture films to illustrate his talks 
on stock judging by the life like representations of the 
animals themselves. 

This is what is proposed as a part of the educational 
use made of moving pictures at the college. It is be- 
lieved that only the motion pictures can tell a farmer 
how to put the roof on the sjlo, or the approved ways of 
orchard spraying. A talk on beef judging, showing how 
the expert goes about his work, it is thought will aid the 
lecturer in making his talk clear. 

The college has leased a moving picture camera to 
prepare a number of sets of educational films. Pictures 
will be taken showing the work being done at the college 
in the laboratories, where the students are judging live 
stock and corn and small grain, as well as the work going 
on in the experiment station fields. Students will be 
shown at work in forge and carpenter shops, or busy 
on lathe or planer in the machine shop. Instruction in 
gas engine or gas tractor operation, or veterinarians car- 
ing for diseased and injured animals will be depicted 
upon the screen. 

While the college will gain some desirable publicity 
from the new venture, it is the desire of the college au- 
thorities to admit the use of the moving pictures to the 
largest educational benefit. 



FREE PICTURES FOR CITY PARKS. 

Picture shows operated under the direction of the 
city council may be initiated this summer in the public 
parks in connection with the band concerts which have 
made summer evenings enjoyable for a few years past, 
says an Austin, Texas, paper. 

This novel idea found expression by Mayor Wool- 
dridge and he only has to arrange the details and con- 
sult with the councilmen to have the feature introduced. 
The idea is an original one and Austin will probably be 
the first city to place the "movies" before the public with- 
out cost, if the plan carries. Details have not been con- 
sidered as yet, but under the mayor's proposition a 
screen could be stretched at a place suitable and during 
the renditions by the band pictures of educational worth 
would be placed on the screen. Open air picture shows 
have generally been successful. 



July 26, 1913 



MOTOGRAPHY 



41 



League's Big Five Day Convention 



Third Annual Meeting 



PROMPTLY at 11:40 Tuesday morn- 
ing, July 8, President M. A. Neff 
called to order the third national con- 
vention of the Motion Picture Exhibitors' 
League of America in the Grand Central 
Palace, New York City. After it was 
learned that Mayor Gaynor would be un- 
able to welcome the delegates until a later 
hour, President Neff introduced Samuel 
Trigger, president of the New York State 
League, who made a favorable impression 
at the outset by declaring that "No speak- 
ing—just work" would be the program of 
the convention. 

Following Mr. Trigger's remarks the 
president ordered a roll call of the national 
vice-presidents present. Objection was 
made that without a secretary the proceed- 
ings could not continue, Mr. Christenson, 
national secretary, having resigned at the 
meeting of national vice-presidents held in 
the Hotel Imperial on July 7. President 
Neff sprung a surprise by announcing that 
J. Howard Bennett, of Baltimore, had been 
temporarily appointed to act as national 
secretary. This raised the question of Mr. 
Neff's power to make a secretary and when 
the national president held that this right 
was given him by the constitution, M. A. 
Choyinski questioned the legality of the 
constitution exhibited by Mr. Neff, on the 
grounds that it was doubtful if this consti- 
tution was the one actually adopted by the 
convention at Chicago. Not a little excite- 
ment followed and Mr. Neff called the ser- 
geant-at-arms to quiet Mr. Choyinski. 

F. Brylawski of Washington, D. C, 
moved that the members go into executive 
session, admitting all the delegates present, 
and then determine who were the bona fide 
representatives of their states to the con- 
vention. The president declared that the 
books of the national secretary were the 
only legitimate records in the case, and in- 
structed G. H. Wiley, national vice-presi- 
dent from Missouri, to announce the names 
of the credentials committee. This record 
showed that G. H. Wiley of Missouri, T. P. 
Finnigan of Texas, G. F. Robinson of New 
Jersey, F. Brylawski of Washington, D. C, 
and F. J. Rembusch of Indiana were on the 
committee. The secretary's record also 
showed the following states entitled to the 
following number of delegates : Illinois, 10 ; 
Pennsylvania, 8; Indiana, 7; Michigan, 6; 
West Virginia, 6; Wisconsin, 6; Maryland, 
6 ; Maine, 5 ; Virginia, 6 ; Georgia, 5 ; Dela- 
ware, 5; Missouri, 7; Alabama, 6; Ken- 
tucky, 6; California, 8; New York, 13 
New Jersey, 6; Oklahoma, 9; Nebraska, 6 
Kansas, 6 ; Florida, 5 ; South Dakota, 5 , 
Arkansas, 5 ; Minnesota, 6. Several other 
states, not yet organized, were also allowed 
one representative each. No report was 




M. A. Neff. 

Re-elected President, M. P. E.L. 

of A. 





MmRS^GI 




llgiP *fe 

1 ***% 




! ~0 
1 — -. 




:0^ 




^^iMkl 



R. L. Macnabb. 

First Vice-President, M. P. E. L. 

of A. 




J. J. Rieder, 

Re-elected Treasurer, M. P. E. L. 

of A. 



made on Ohio. Numerous protests were 
made following the reading of the list, 
speakers pointing out that considering the 
number of members of the League within 
their borders states like Illinois and New 
York were practically unrepresented. Upon 
a motion to extend the period originally 
designated as the limit for the executive 
session, the convention adjourned until the 
afternoon. 

Upon reconvening, shortly after 2 :30 
o'clock, the last motion made before ad- 
journment was reconsidered and the ses- 
sion was made an open one instead of an 
executive affair. Chairman Wiley of the 
committee on credentials, rules and regu- 
lations read the report of that committee 
on state representation and it was discov- 
ered that the committee had made several 
mistakes which affected states like Illinois 
and New York. As a result the committee 
were ready to award Illinois five more dele- 
gates, New York one more and the repre- 
sentation of other states was also slightly 
increased. Robert H. Levy of Illinois an- 
nounced that his state would be satisfied to 
abide by the original allotment of ten dele- 
gates. Other states made similar announce- 
ments through their representatives. 

Mr. Cory of California suggested that, 
though only three of eight delegates 
allotted to his state were present, the state 
ought to be allowed a full eight votes. 
Others raised objections to this suggestion, 
and after considerable debate it was de- 
cided that the policy of "one vote for one 
man" should prevail. A motion was passed 
requiring each national vice-president to 
furnish the names of the delegates from his 
state to the credentials committee on 
Wednesday morning. 

Just at this point, amid a storm of 
cheers, Mayor Gaynor of New York ar- 
rived, and was escorted to the speaker's 
platform. As soon as Mr. Gaynor ap- 
peared on the platform delegates from sev- 
eral states made stirring speeches, and at 
the conclusion of these tributes Samuel 
Trigger introduced Mayor Gaynor in a 
happy manner. 

Mr. Gaynor spoke as follows : 

This looks like a national political conven- 
tion. The banner of each state and every state 
seems to be here, and I have received the saluta- 
tions and good wishes of the delegates from sev- 
eral of the states. I had no notion that I was 
known outside of the city of New York — the 
little city of New York— but it seems that you 
people in your business have run up against me 
in some way or I have run up against you, I 
don't know which way to put it. Shortly before 
I became mayor there was a great outcry in this 
city against the moving picture shows. That out- 
cry had started at the very beginning, and just 
before I was elected the mayor of this city, re- 
sponding to the demand of one or two clergymen 



42 



MOTOGRAPHY 



Vol. X, No. 2 



and others who ought to be clergymen, who are much better 
than the rest of us, revoked in one day five hundred moving 
picture licenses in this city. That was nearly all that there were, 
and it was all done for nothing that I could ever discover. I 
noted it at the time. I was at that time a judge, but I had my 
eyes open, as all judges have, you know, and I knew something 
even about moving-picture shows. And I knew that the outcry 
against them was absolutely baseless. But those five hundred 
licenses were revoked, and I understand that it cost these people 
over a million dollars to get themselves rehabilitated again in 
their business. Probably more than a million dollars. It was 
one of those heartless things that occur now and then in govern- 
ment at the clamor of some people who are altogether too good 
for this world. But let those people go. I now and then say a 
few words about them only to amuse myself. This outcry con- 
tinued. I knew it was not so. Why these people got up here 
and through their pulpits (there are only a? few of them because 
the great body of the clergymen here of all denominations are 
the finest kind of men) and through newspapers they bellowed 
one day after another that you were showing indecent pictures 
in those places. Why, I said that the audiences who went to 
your places to start with, the fathers and mothers who went 
there with their children by the hand, wouldn't stand for a nasty 
picture. And so I had my commissioner of accounts make a 
close examination of every moving-picture show in the city of 
New York, and he reported that there was not an indecent pic- 
ture shown in one of them. And then I appointed a commission 
to frame a proper ordinance. We really had no ordinance in 
this city for them, and that committee sat and framed an ordi- 
nance and we have been ever since trying to get it through the 
Board of Aldermen against the opposition of these people. We 
got it the other day. Now the moving-picture places here will 
be guarded in every way. The life and safety of those who go 
there and their morals will be properly watched — but not im- 
properly watched. It is now over a year ago that these people 
induced the Board of Aldermen to put in this ordinance what 
was called a censorship provision. That is to say, a provision 
that you could show no picture until a censor or a board of 
censors should first look at it and say whether it was all right 
or not. That ordinance I vetoed. Some of you have alluded to 
it in your calls to bodies of this convention and said that that 
veto message was used in the courts and elsewhere throughout 
the country. Why, my friends, I only had to say to satisfy 
every sane person in this town and every person whose virtue 
was not more exquisite than the rest of us, that censorships do 
not belong to our free government. We wiped all of that out 
of existence when we formed this government at the beginning. 
Up to that time your religion even was censored. There is not a 
Christian sect which has not been censored some time in its 
religion. There were censors who said where you had to go to 
church and what you had to believe, and the government carried 
it out. And so through many things ; but that was all done 
away with. If you go to Russia today you will find the censor- 
ship. No picture can be exhibited ; no book can be published 
except this censor looks through it and says it is quite harmless. 
And that is what they wanted to revive here. We have laws 
here against indecent pictures and literature ; everything that 
addresses itself by way of pictures or writing to our eyes and 
our understanding is embraced in the word literature. We have 
ample laws to punish anybody who exhibits an indecent picture 
or an immoral picture, or publishes anything immoral in reading 
matter, but that was not enough for these people. Of course 
each one of these people thought that I would appoint them 
censors. And they wanted the job of telling you and me in ad- 
vance wlaat pictures we might look at in the city of New York. 
Why, they might have objected to historical or anything they 
saw fit. But they did not have their way in that respect. 

And now, as I say, we have an ordinance which will serve 
as a model to all the cities of the country in framing similar 
ordinances. It is not perfect, but nevertheless it is as perfect as 
such things have been made up to this time. You people repre- 
sent the owners of these places all over the United States. You 
know the kind of people that come to these places. You know 
that they are good people. If we need any censors at all here 
in New York with regard to theaters, these extremely high 
people should have gone further up town and they might have 
found some things ; but they never do that. They are awfully 
disturbed to see the general run of people amuse themselves. 
Now, from my way of thinking the moving pictures have been 
one of the most beneficent things that have come up in my 
time. They fill a great want. They open up pure, educating, 
solacing, and at the same time cheap entertainment to people 
who are not able to pay theater prices, and the result has been 
good. How many hearts have been solaced in these places? 
How many people of hard daily life who need something to 



solace them and amuse them have found that want in the 
moving-picture show? And some cry out against the children 
going there. There are some people here who do not want to 
see them in the streets; they do not want to see them in the 
parks; and some, I am sorry to say, hate to see them even in 
the churches. But the children have to go somewhere, and it 
is a blessing that parents are able to take their children by the 




Scene from Bison's "The Picket Guard." 

hand and bring them to your places and let them be instructed 
and amused at the same time. Of course, the children who go to 
your places have to be safeguarded in some way. That is what 
the proprietors of the theaters here think, but I notice they 
made no suggestion about safeguarding the children up in their 
galleries at all during all of this controversy. You know they 
passed an amendment to this ordinance in the Board of Alder- 
men ripping out all the galleries in the moving-picture shows, 
on the ground that they were immoral places. The chief mover 
of that was a large owner in the cheap theaters of New York. 
But he did not have his way. I asked why they did not rip the 
galleries out of his theaters also. That was the only kind of an 
argument that he could understand. 

But we will talk no more on that. My friends, you have all 
noted that every time anything new comes up in this world 
nearly everybody, including you, I suppose, begins to howl 
against it. They will not stop long enough to find out what it is 
even. All they know is that it is something they never heard 
of before, and that is enough. The things that some people 
never heard of before would fill a great many books, you know, 
and that was the fate of these shows. They were new. They 
competed with other shows. Of course the proprietors of those 
shows were opposed to you. But the great body of the com- 
munity here very soon were in your favor. They heard these 
people talking about nasty pictures in your shows. Well, they 
were going to your shows and they saw no such thing, and of 
course it fell of its own weight. I am talking now of the city 
of New York and I trust it is the same all over the country, 
that these shows are decent and moral the same as they are 
here. I would not have them done away with for anything. It 
would be a calamity. I went to see them myself from the start, 
and they were to me a matter of great instruction and amuse- 
ment and solace. The first one I ever saw was in London. It 
was at the time they first came out, and it was a matter of 
wonder and amusement to me. I even saw a railroad train 
come across the stage and stop, and saw the Emperor of Ger- 
many get out with his whole suite right there in a London 



July 26, 1913 



MOTOGRAPHY 



43 



theater, and other things like that were an utter amazement to 
me. I never dreamed of any such thing. But I think in Europe 
they never created that outcry against them which we have 
heard here. 

And now if I have said anything to cheer you up in your 
business, and to uphold it throughout the country, I am very glad 
indeed. I have received letters from all over the United States 
with regard to the controversy we have had about it here. Par- 
ticularly did I receive letters about the veto message which I 
have mentioned to you, upholding the rights of people without 
censorship to see what they like and read what they like, and 
for those who run such places to put on their stages such pictures 
as they like so long as they put no immoral picture on the stage. 
Just as soon as they do that in the city of New York I think they 
will have a summons into the police court forthwith. But I 
have no fear of it being done at all. It has not been done so far, 
and my belief is that that kind of a show in this moral town of 
New York would not live a week. 

Immediately upon the conclusion of his address 
President Neff thanked Mayor Gaynor for the encour- 
agement given the League and for his kindness in being 
present. A motion was then made and carried that Mr. 
Gaynor's speech be prepared in printed form and sent 
to every national vice-president of the League, with in- 
structions that it be circulated in every way possible. The 
Honorable Frank L. Cohan, Mayor of Glasgow, Scot- 
land, R. H. S., Honorable Master of Works, was the 
next speaker and the man from the land o' braw laddies 
and bonny lassies made the hit of the day with the ex- 
hibitors. He had an accent that would turn Harry Lau- 
der green with envy and every delegate present would 
have liked to have listened to him indefinitely. Follow- 
ing the address of Mayor Cohan a motion was carried to 
adjourn until 10:30 Wednesday morning. 

Following the roll call of national officers on 
Wednesday morning President Neff appointed a press 
committee consisting of J. A. Maddox, Columbus, Ohio, 
chairman ; Frank A. Tichenor of New York City, and L. 
R. Thomas of Moundsville, West Virginia. President 
Neff then read his annual report which briefly summar- 
ized the following things accomplished by the League 
since the last convention : 

We are able to purchase parts, accessories and supplies at a 
discount of forty per cent off the regular list price. Multiple 
reel subjects, or features, without additional cost is one of the 
advantages gained through the organization of the League. 



some good laws and ordinances, which have been of great 
benefit to the motion-picture exhibitor. 

We have brought about a friendly feeling and co-operation 
between the exhibitor, manufacturer and exchange. 

The organization of the League has been the means of 





Scene from "The Fiftieth Anniversary of the Battle of Gettysburg," 
Lubin release. 

The city and state licenses in many cases have been reduced 
materially. 

We have defeated adverse legislation in many states and 
cities, and through our efforts have caused the enactment of 



Scene from Victor's "The Nihilist's Vengeance." 

getting together and acquaintance of thousands of exhibitors, 
causing them to lay aside petty jealousies and working in har- 
mony for the common good. 

We have done much good in the way of reducing the 
number of reels, which we feel will finally be the salvation of 
the exhibitor and the people. 

Since the Chicago convention, I have organized the states 
of Texas, Iowa, Nebraska, Kansas, Massachusetts, Rhode Island, 
Connecticut, Colorado, Florida, South Dakota, Washington, 
Maryland, Delaware, Georgia, Tennessee, Alabama, Mississippi, 
Maine, South Carolina and Southern Illinois Local No. 1, 
making a total of forty states organized. 

There was so much of this work to be done in a short 
space of time that it proved impossible for me to take care of 
it all at the proper time, so Mr. Wiley of Missouri was pressed 
into service, and it was with his help that the states of Oklahoma, 
Arkansas, Virginia and Maine were successfully organized. 

Arrangements were made for conventions in the South, and 
Mr. Thomas of West Virginia was sent to organize them. 

Alexander Wall of Alabama also helped in the work, organ- 
izing the state of Georgia. 

Clem Kerr of Dayton, Ohio, was also instrumental in fur- 
thering organization and deserves special mention. Many 
others not mentioned were of great assistance. The League is 
doing splendidly, and the results obtained during the past year 
have been most gratifying. 

I recommend a shorter program, not to exceed four reels, 
regardless of price. 

I recommend that on the twelfth day of September, 1913, 
the third anniversary, each member of the League contribute one 
dollar. 

I recommend that a special session of this body be de- 
voted to the discussion of the censor question. 

I recommend that all future conventions be under the su- 
pervision of the Executive Committee of the League. 

Taking into consideration the conditions under which w« 
have had to work, including a lack of funds, we have, indeed, 
made remarkable progress. Some plan should be devised where- 
by a sufficient amount of money should be in the treasury to pay 
the running expenses of the League. 

The Motion Picture Exhibitors' League, as it stands today, 
represents millions of dollars, and is fast becoming one of the 
most powerful organizations in this country. The financing of 
the League will, undoubtedly, be provided for in the future. 

I am pleased to report that harmony and good feeling pre- 
vail throughout the organization. We are thoroughly organized 
on a fine basis. We are co-operating with many societies for 
the uplift of our business; also with manufacturers of films, film 
exchanges and others interested in our line of business. There is 
no strife existing between the film manufacturers or exchanges 
and the Exhibitors' League. As evidence we point to the large 
attendance and the states represented at this splendid exposition 
of the arts. 

Then followed the reading of the resignation of For- 



44 



MOTOGRAPHY 



Vol. X, No. 2 



mer National Secretary C. M. Christenson, necessitated 
by the recent appointment of Mr. Christenson as Cleve- 
land manager of the Mutual Film Corporation's branch. 
The reports of the national secretary and national treas- 
urer were next read and referred to the auditing com- 
mittee. 

President Neff then appointed the following commit- 
tees : 

Auditing committee — -E. A. Jefferies, Philadelphia; 
W. A. Cory, San Francisco, and W. R. Wilson of Colum- 
bus, Ohio. 

Ways and Means Committee — Mr. Ramsey, Lexing- 
ton, Kentucky; Mr. Henry, Chicago, Illinois; Otto Lude- 
king, Cincinnati, Ohio; P. J. Jeup, Detroit, Michigan; 
Mr. McNatt, New York City, and Walter Steumpfig, 
Philadelphia, Pennsylvania. 

By-laws and Constitution committee — Mr. Levi, De- 
troit, Michigan; A. L. Cottrell, Moundsville, West Vir- 
ginia; Mr. Kohl, Cleveland, Ohio; Orene Parker, Cov- 
ington, Kentucky; Mr. Davis, New York City; Charles 
Segall, Philadelphia, Pennsylvania, and W. L. Shelton of 
Kansas City, Missouri. 

All the above committees were ordered to report at 
Thursday morning's session. 

A lengthy discussion as to when the nomination and 
election of officers should occur then followed. The 
Ohio delegation favored an immediate selection of of- 
ficers while other state delegations, particularly New 
York, were of the opinion that many of the delegates 
would leave before Saturday if the election were held 
too early in the week, thus entailing a severe commercial 
loss to those who had rented space at the exposition and 
who expected to make sales as a result of the convention. 
The argument which continued for almost two hours 
ended with a motion made by Mr. Roth of California 
and seconded by Mr. Elmdore of New York that the 
nominations take place on Thursday and the election of 
officers on Friday. President Neff ordered a roll call on 
this and the motion was carried. 

Shortly after the Thursday morning session of the 
convention was opened a motion was carried to admit 
all wives and children of visiting exhibitors to the ses- 
sions except during the period when nominations and 
elections were in order. Following a roll call of dele- 
gates, telegrams from Governor James M. Cox of Ohio 
and Hon. Joseph B. Foraker were read to the conven- 
tion, each regretting his inability to be present at the 
gathering. In the regular order of business the report 
of the committee on by-laws and constitution, and the 
committee on ways and means were read and accepted. 
The report of the auditing committee after some delay 
was also read and approved. 

A three-hour discussion of the length of programs 
followed, participated in by delegates from states all over 
the Union. Many of the abuses from which the business 
suffers were thoroughly overhauled and some really 
astonishing conditions existing in certain sections of the 
country were revealed. An exhibitor from Pennsylvania 
reported that one house operating in competition with 
him was running as many as twenty reels a day for five 
cents, which probably establishes a record for the abuses 
of the present system of film rental. 

Exhibitor Denton of New Jersey advocated an in- 
surance alliance whereby members of the League should 
pay in $1.10 per year, one dollar of which is to be paid 
to beneficiary on the death of a member, and the ten 
cents to go for current expenses. 

After Samuel Trigger, president of the New York 
State League, had introduced Commissioner of Licenses 



James Walsh, who made a speech that was enthusiastic- 
ally received by the delegates at the afternoon session, the 
convention proceeded to the nomination of officers, all 
speeches being limited to eight minutes and seconding 
speeches to three minutes. 

For president the following nominations were made : 

M. A. Neff, present president, nominated by Lem 
S. Miller of Cincinnati. 

In his speech nominating President Neff for re-elec- 
tion Mr. Miller said in part: 

The greatest facility for the education and edification of 
mankind is through the medium of moving pictures. When we 
think of the enormous wealth invested in producing and exhibit- 
ing motion pictures and the vast expanse of these United States, 
with its millions of people who are daily attending moving pic- 
ture shows, we can in but a limited degree comprehend the 
greatness and power of the industry. 

As we look over this assemblage and see representatives 
present from practically every state, organized and united into a 
concerted effort, working in harmony for a common cause, we 
are profoundly impressed with that master mind that made this 
organization possible. And that is a greater tribute and more 
monumental to that man of genius and executive ability than 
thought or words can portray. 

This League, crowned with its vast achievements, demands 
a man who has proven himself worthy of the past and equal to 
the present to be its leader of the future. 

The man whom I have the pleasure of nominating is per- 
sonally known to every member of our League. His fame alone 
is not of things written or said, but of the greatness of things 
done. 

We should not be unmindful of his unselfish and untiring 
work; of the great personal and financial sacrifices on his part, 
and of his earnest and fervent devotion to our cause. Ohio 
places in nomination the man who has been weighed in the bal- 
ance and been found not wanting — M. A. Neff. 

Mr. Robinson, president of the New Jersey League, 
seconded Mr. Neff's nomination. 

Samuel S. Trigger, president of New York City 
Local, named J. L. Phillips, of Fort Worth, Texas, for 
national president, and Mr. Phillips was seconded by Mr. 
Stern, of New Jersey. Mr. Phillips is known in the 
Lone Star State as "Happy Jack." 

In an able speech, Mr. Chamberlin, of Minnesota, 
next placed in nomination William J. Sweeney, national 
vice-president of Illinois, and C. H. Phillips, of Milwau- 
kee, was the second speaker in his behalf. 

Fred J. Herrington of Pittsburg was placed in nomi- 
nation by H. A. Victor of Pittsburg. 

The following names were placed in nomination for 
secretary : H. A. Sherman, Minneapolis, nominated by 
Fred J. Herrington of Pittsburg; G. H. Wiley, Kansas 
City, nominated by F. J. Rembusch of Indiana. 

For treasurer, J. J. Rieder, Michigan, nominated by 
W. A. Pettis of Ohio; Dr. J. A. Rhodes, Indianapolis, 
nominated by Fred J. Herrington of Pittsburg; J. How- 
ard Bennett, Baltimore, nominated by W. M. Herbst of 
Washington, D. C. 

After the nominations were concluded, the presi- 
dent appointed Tubus Alcock, president of Chicago Lo- 
cal No. 2, to fifl the place of J. M. Kauffman of Cali- 
fornia in the Committee on Constitution and By-laws. In 
addition to Mr. Alcock there are at present on this com- 
mittee Messrs. Phillips of Milwaukee, Finnegan of 
Texas, Blumenthal of New Jersey, and Rembusch of In- 
diana. 

The chair appointed a new Committee on Rules and 
Regulations. It is composed of Lem S. Miller, chair- 
man; C. H. Phillips. Milwaukee; H. W. Rosenthal, New 
York; Judge Tugvvell, California, and Mr. Pierce, Balti- 
more. This committee brought before the convention a 
resolution calling for the election of a first vice-president 
who will be able to act as president in case of necessity. 

The following gentlemen were appointed to act both 
as an executive committee and also as a committee on 



July 26, 1913 



MOTOGRAPHY 



45 



censorship : Messrs. Neff, Wiley, Rieder, Finnegan, 
Macnabb and Blumenthal. 

Trouble started at the very beginning of the Friday 
morning session of the convention. As soon as the gath- 
ering had been called to order Frank A. Tichenor moved 
that the representatives of the press be admitted, a mo- 
tion which the chairman refused to entertain. Afterward 
it was put in the form of a suggestion and in this form 
passed. Then came a motion that the reports of com- 
mittees, especially the committee on resolutions, be read. 
This motion President Neff also refused to entertain on 
the ground that the election of officers was next in order. 
An appeal was taken on this decision and L. A. Blumen- 
thal, national vice-president from New Jersey, was ap- 
pointed to preside while this kink was ironed out. 

After a period of much disorder a vote was taken 
on the appeal from the ruling of the chairman. It pro- 
ceeded with much delay and heckling as frequently some 
unidentified voice would ask for a roll call of a state and 
all the delegates would have to stand up and be looked 
over. The vote sustained the action of the chair 86 to 72. 
This of course put President Neff back in the chair and 
upheld his ruling that the election of officers was the 
next order of business. 

John Miller of Chicago and G. L. Wonders of Bal- 
timore were appointed tellers. Robert Levy of Chicago 
arose and withdrew the name of William J. Sweeney of 
Chicago, who was considered Neff's strongest oppon- 
ent, in favor of J. L. Phillips of Texas. Then Fred J. 
Herrington of Pittsburg withdrew himself from the race 
in favor of Phillips. 

The surprise of the session came after the roll call 
had reached the state of Texas and when the ballots al- 
ready cast showed 67 votes for Neff against 53 for Phil- 
lips. It was supposed, of course, that Texas would vote 
for the Texas candidate, but instead Mr. Phillips cast the 
eight votes of the Texas delegation for Neff, saying 
"Down in Texas the members of the League trust Mr. 
Neff and have instructed us to vote for him." 

This indorsement of Mr. Neff by the man he had 
placed in nomination against him brought Samuel H. 
Trigger of New York to his feet with the declaration : 
"I have been in business for forty-one years, but this is 




Pearl White of Crystal Company on board S. S. Olympic, sailing for 
Europe. 

the first time I have ever given my word of honor to 
another only to have him give me what is called 'the 
double cross.' " 

Then the storm broke. Samuel H. Trigger and 



Frank A. Tichenor, almost together, cried "New York 
state gets out. We can't stand it," and grabbed the New 
York state banner as they started from the hall, followed 
by delegations from Pennsylvania, Illinois, Wisconsin, 
Indiana, Minnesota, California and Canada. Messrs. 
Lee, Macnabb and Samuels of New York remained be- 
hind, however, and continued to vote with the regular 
organization. 

After the various disgruntled delegations had de- 
parted and things had quieted down once more, President 
Neff was re-elected, and George L. Wiley of Kansas City 
was chosen as national secretary. When the vote for 
treasurer was reached Howard Bennett of Baltimore, 
a candidate, announced that he was only running be- 
cause he understood that J. J. Rieder of Jackson, Michi- 
gan, was not a candidate for re-election. Having learned, 
however, that Mr. Rieder was a candidate, he wished 
to withdraw. Mr. Rieder was re-elected. 

President Neff found it necessary to appoint some 
new committeemen as some of the men who departed 
had left vacancies. On the committee on resolutions 
he appointed Messrs. Phillips, Macnabb and L. S. Mil- 
ler. Then the convention was adjourned until 3 o'clock 
in the afternoon. 

Immediately after the gathering had again been 
called to order Secretary Wiley read the following reso- 
lution, which was unanimously adopted : 

By convention of the Motion Picture Exhibitors' League of 
America, now in session : 

We wish to announce to every member of the .Motion Pic- 
ture Exhibitors' League of America, in the United States and 
Canada, that the action taken by the delegates of Illinois, New 
York, Wisconsin, Minnesota and Indiana, in leaving the conven- 
tion hall, has left their states without representation except in 
the case of New York, where two delegates remained, Mr. Mc- 
nabb and Mr. Samuels. Pennsylvania cannot be considered as 
leaving, as six delegates out of nine remained; Mr. Herrington, 
Mr. Polk and Mr. Victor of Pittsburg left the convention. They 
were delegates from the state of Pennsylvania. 

Owing to the fact that the Motion Picture Exhibitors' League 
of America is working under a charter issued by the state of 
Ohio, and by reason of the action taken by the delegates from 
the states above mentioned and for the benefit of the members, 
they are requested to notify the national officers whether or not 
they endorse the action of their delegates in bolting the conven- 
tion, and all states that endorse the action of their delegates in 
leaving the convention will immediately forward their charters 
and all supplies to the secretary of the Motion Picture Exhibit- 
ors' League of America, George H. Wiley, Kansas City, Mo., 
national secretary, and it is requested that all members who wish 
to retain their membership and affiliate with the Motion Picture 
Exhibitors' League of America, will communicate with M. A. 
Neff, the national president, also National Secretary George H. 
Wiley, and their membership will stand until a new organization 
is organized in their respective states, which will be immediately, 
and new officers elected. This does not in any way affect any 
member of the League who is in good standing and desires to 
continue; it does not affect the state organization in any way, 
shape or form, providing, the state does not endorse the action 
of their delegates in convention assembled, but all delegates who 
left the convention and bolted are hereby suspended from this 
organization. 

(Signed) M. A. Neff, President. 

George H. Wiley, Secretary. 

Following the distribution of tickets for the even- 
ing's banquet and the consideration of other matters af- 
fecting minor changes in the by-laws the convention ad- 
journed until 10 o'clock Saturday morning. 

At the Saturday morning session William Vestal of 
Ohio offered a resolution to the effect that the League 
go on record as favoring state censorship of pictures as 
the national censorship was not proving satisfactory. 
This resolution was debated at great length, several dele- 
gates declaring that they had received films that had been 
passed by the national board of censorship that they were 
ashamed to show after they had once seen them on the 
screen. At the end of the long discussion Mr. Wash- 



46 



MOTOGRAPHY 



Vol. X, No. 2 



burn of Massachusetts offered an amendment to the 
effect that the censorship question be referred to the ex- 
cutive committee, which in turn should confer with the 
various state Leagues. This was adopted. 

President Neff declared during the session that he 
was partly behind the bringing of government suits 
against the Motion Picture Patents Company and pointed 
out that where the exhibitors used to pay $2 for service 
they get the same now for 90 cents. 

Upon a resolution offered by Mr. Pierce of Balti- 
more it was decided to take up with the manufacturers 
the question of women smoking in scenes in films and to 
ask that this be done away with. This resolution was 
seconded by Mrs. Schmidt of Ohio. 

George Macnabb of New York was elected first vice- 
president and F. E. Finnegan of Texas, second vice- 
president. A resolution was adopted to the effect that 
not more than three reels of film be shown at a five cent 
performance, and another resolution against exhibitors 
who are in business only part of the year, and particularly 
mentioning airdomes, was adopted. 

The convention then adjourned sine die, to meet in 
Dayton, Ohio, next year, the exact dates to be fixed by 
the executive committee. 

Much of the success of the third annual convention 
of motion picture exhibitors was due to the hard and 
conscientious work of the hustling gentlemen who com- 
prised the various committees on reception, entertain- 
ment, transportation, etc. The makeup of the various 
committees was as follows : Executive committee — Sam- 
uel H. Trigger, chairman; Harold W. Rosenthal, vice- 
chairman; J. A. Koerpel, secretary, and Louis F. Blu- 
menthal, treasurer. Reception and entertainment com- 
mittee — William Hilkemeir, chairman; Aaron A. Corn, 
vice-chairman; Frank A. Tichenor, R. Sanders, Grant 
W. Anson, A. Coleman, L. Germain, M. L. Fleischman, 
L. Rosenthal, R. C. Whitten, M. Needle, E. Elmore, R. 
L. Macnabb, William Brandt, and J. A. Koerpel. Hotel 
and transportation committee — M. L. Fleischman, chair- 
man ; J. A. Koerpel and E. Elmore. Press committee — 
Arthur Leslie, chairman ; George Arnold and John B. 
Clymer. 

It is equally true that the unlimited success of the 
First International Exposition of the Motion Picture Art 
is also due to the efficient arrangements and hard work 
of the members of the general and advisory committees 
which consisted of the following members : 

General committee— Frank A. Tichenor, chairman; 
Frank E. Samuels, secretary ; Louis F. Blumenthal, treas- 
urer; M. Needle, J. King, B. E. Cornell and L. Rosen- 
thal. 

Advisory committee — R. L. Macnabb, chairman; E. 
Valensi, A. Baurenfreund, E. M. Day, R. C. Whitten, 
Grant W. Anson, George L. Wright, A. N. Wolff, Wil- 
liam Douque, R. M. Davidson, M. L. Fleischman and 
F. Goldfarb. 

Great credit should also be given somebody for hit- 
ting upon the plan of enlisting the services of the ladies 
to further the success of the general entertainment of 
the visitors. The ladies of the entertainment committee 
who made it their constant aim to see that everybody had 
a royal good time were: Miss Jeanette Cohen, chair- 
woman; Mrs. Robert Lee Macnabb, vice-chairwoman; 
Miss Jeanette Ehrenberg, Mrs. L. F. Blumeathal, Miss 
Edith Berry, Miss Rena Doliva, Miss Marga et Norvell, 
Mrs. R. Markowitz, Mrs. William Brandt, Mrs. R. San- 
ders, Miss Dorothy Kingdon, Mrs. J. E. Robin, Miss 
Ruth Allen, Miss Ermel, Miss Marion Brandon, Mrs. 
Agnes Egan Cobb, Miss Forster, Miss Helen Barthell, 
Miss Henrietta Baurenfreund, Miss I. Buggie, Miss Ade- 
line Beldnar, Miss May Weston, Miss Sydelle Fish, Mrs. 



R. Watris, Mrs. I. Leatherberry, Mrs. Agnes Cameron, 
and Mrs. A. A. Corn. 



A Thrilling Pathe Special 

"The Secret Formula," the two reel Patheplay to be 
released on Friday July 18, is one of the most interesting 
and sensational features that has yet been offered. The 
story briefly told, is as follows : 

Professor Ward's discovery of a secret formula for 
the manufacture of an indestructible cement threatens 
to revolutionize the industry and causes a special meet- 
ing of the board of directors of the Cement Trust to be 
called. They decide that Ward's formula must be ac- 
quired at any cost. A flattering offer of money, made by 
Gerald B. Smythe, chairman of the monopoly, is refused 
by the professor. 

Paul Shafter, Mrs. Ward's brother, who makes his 
home with her, is in love with Smythe's daughter. 
When Paul asks for her hand the trust magnate agrees 
to give his consent, provided Shafter will secure the 
secret formula which his brother-in-law refuses to sell. 
Smythe also offers Shafter a responsible position with 
the trust if he succeeds. Shafter weighs the proposal 
carefully and finally promises to get the formula. 

The first opportunity Shafter can find to accom- 
plish his purpose presents itself at a fox hunt given by 
Professor Ward. Shafter opens Ward's safe and ex- 
tracts the formula. His sister discovers him in the act. 
Mrs. Ward explains the situation to Ward's secretary 
begging him to get the formula from her brother before 
her husband discovers the loss. The consultation be- 




Scene from "The Secret Formula," Patheplay. 

tween Mrs. Ward and Ward's secretary arouses the 
suspicion of the professor. 

Shafter deserts the hunters and turns in the other 
direction, followed by the young secretary, After a sen- 
sational leap from the horse he is riding to the back 
platform of a flying train and a bitter tight within the 
car, the messenger returns to Mrs. Ward with the 
secret formula. Ward discovers his secretary and his 
wife in earnest conversation. His jealously gets be- 
yond control and he thrashes the innocent suspect un- 
mercifully. Mrs. Ward broaks her silence and explains 
the circumstances. The professor pleads with his secre- 
tary to forgive him. The secretary agrees on condition 
that Ward will forgive Shatter. Ward promises Shafter 
that he will forget the incident and a short while later, 
Shafter writes to Smythe that he has decided not to 
secure the formula but will win the girl despite her 
lather's disapproval of the match. 



July 26, 1913 



MOTOGRAPHY 



47 



International Motion Picture Association 

The New Fraternity 



WHEN the Motion Picture Exhibit- 
ors' League of America, in con- 
vention at New York, opened its 
session for the election of officers Thurs- 
day afternoon, July 10, President M. A. 
Neff, J. L. Phillips of Fort Worth, Texas, 
Fred J. Plerrington of Pittsburgh, Pa., 
and William J. Sweeney of Chicago, 111., 
were candidates for the national presi- 
dency. Sweeney and Herrington withdrew 
in favor of Mr. Phillips. The roll was 
called. State after state polled their votes, 
and when Texas — Phillips' home state — 
was reached the returns stood 67 for Neff 
and 53 for Phillips. 

Then Texas was called. Amid the 
amazement and consternation of the assem- 
bly, she cast her eight votes for Neff, giv- 
ing him practically an assurance of election. 

A scene of wild excitement followed. 
Supporters of Sweeney and Herrington who 
had been transferred to Phillips would not, 
even in favor of their past president, sub- 
mit to being shifted again. The fact that 
the Texas delegates had come two thou- 
sand miles under absolute instructions to 
support Neff had ruined their plans — given 
them what they deemed the "double cross." 
They rose en masse to their feet. 

Out of the convention hall strode two- 
thirds of the per capita tax of the Motion 
Picture Exhibitors' League of America. 
All of Illinois; all of Wisconsin; all of 
Minnesota ; all of Indiana ; all but two from 
New York ; a part of Canada ; three from 
Pennsylvania and one (H. G. Cottar) from 
Texas were the seceding band of states that 
hastily gathered in another assembly room 
adjoining that of the League. 

Of the new party Judge A. P. Tugwell 
of Los Angeles was made temporary chair- 
man and Harold W. Rosenthal of New 
York temporary secretary. A committee ot 
five — Messrs. Rosenthal of New York, 
Rembusch of Indiana, Phillips of Wiscon- 
sin, Furniss of Minnesota and Herrington 
of Pennsylvania — was appointed to draft a 
constitution and by-laws for the new ex- 
hibitors' association. A discussion of ap- 
propriate names resulted in the choice of 
"International Motion Picture Associa- 
tion." The constitution and by-laws was 
considered and adopted section by section, 
and is as follows : 

CONSTITUTION. 
ARTICLE I. 
Name. 
Section 1. The name of this association shall be 
"The International Motion Picture Association." 

ARTICLE II. 
Object. 
Section 1. The purposes of this organization are to 
secure protection by co-operation, to raise the standard 
of motion picture films and the motion picture business 
generally, to secure fair and equitable treatment from all 
with whom we have business transactions, to prevent 
breaches of contracts of whatsoever nature, to secure rea- 
sonable insurance rates, to secure protection against ad- 




Charles H. Phillips. 
President of the I. M. P. A. 




Harold W. Rosenthal, 
Secretary of the I. M. P. A. 




Dr. J. M. Rhodes. 
Treasurer of the I. M. P. A. 



verse legislation, to adjust difficulties with labor, to pro- 
mote the spirit of good fellowship in all lines of the busi- 
ness, to adjust minor matters of importance to the ex- 
hibitor, and to further the best interests of all members 
of this association and the public in general in all matters 
pertaining to the exhibitors business. 

ARTICLE III. 

Officers. 

Section 1. The officers of this association shall be 
a President, a Secretary, a Treasurer, a First Vice-Presi- 
dent, and an Executive Committee; the Board of Direct- 
ors, to consist of a member elected by each organized 
state. The President and Secretary shall act as Chairman 
and Secretary, respectively, of the Executive Committee. 

Sec. 2. No two members of the Executive Committee 
shall beiong to the same firm or corporation, and should 
a member of this Committee enter into partnership with 
another men br r of this Committee, such action shall be 
fc'iuivaii nt to his lesignation, and the vacancy so created 
shall be 1 :1 led by a vote of the Executive Committee. 

Sec. 3. The Board of Directors shall be elected by 
their respective state associations for a term of one year. 

Sec. 4. All officers shall be elected for a term of 
one year. 

ARTICLE IV. 
Duties of Officers. 

Section 1. The President shall preside at all meet- 
ings of the association. The President shall call special 
meetings upon request of a quorum of members of the 
Executive Committee, or upon a petition of two-thirds 
of the Board of Directors, or when the President deems 
special meetings necessary. He shall strictly enforce 
the rules of this Association, and shall investigate any 
violation of the same. 

Sec. 2 . The First Vice-President shall, in the ab- 
sence or inability of the President, perform all duties of 
the President. 

Sec. 3. The Directors shall be the authorized repre- 
sentatives of the Association in their respective states, 
and it shall be their duty -to attend to all matters per- 
taining to the Association, when so ordered by the Presi- 
dent of the Executive Committee. 

Sec. 4. The Secretary shall keep an accurate record 
of the proceedings of all meetings of this Association, and 
shall keep a record of all monyes forwarded to him to be 
turned over to the Treasurer. He shall make report 
of all annual and semi-annual meetings to the Board of 
Directors. He shall have the custody of the official seal. 
He shall furnish a surety bond in the amount of $5,000 
to the Association, the Association paying the cost of 
same. 

Sec. 5. The Treasurer shall have charge of all funds 
of this Association, and shall render an accurate account 
of same at each meeting of the Executive Committee. 
The Treasurer shall pay all expenditures of the Associa- 
tion upon proper vouchers signed by the Secretary. He 
shall furnish a complete annual financial report thirty 
days before the annual Convention of the Association to 
the Board of Directors. The Treasurer shall be required 
to furnish a surety bond of $5,000, the cost of same to 
be paid by this Association. 

Sec. 6. No elective officer shall be elected for more 
than two successive terms. 

Sec. 7. The Executive Committee shall have general 
supervision over and full power to act on all matters per- 
taining to the Association. 

ARTICLE V. 

Meetings and Vacancies. 

Section 7 1. There shall be a Convention of this 
Association annually on the first Tuesday after the 4th 
day of July, at such place as may be designated by the 
Convention. 

Sec. 2. All National Conventions prior to the con- 
vening thereof shall be conducted by the State Associa- 
tion and the State Association shall turn over to the 
International Association 25 per cent of the net proceeds. 

Sec. 3. In case of a vacancy in the office of the 
President, Secretary or Treasurer before the annual 
meeting, by reason of death, resignation or other cause, 
the vacancy shall be filled for the remaining term of 
office by one of the Board of Directors, selected by vote 
of the Executive Committee. 

ARTICLE VI. 

Membership . 

Section 1. This Association is for exhibitors only. 
Membership is open to every bona fide motion picture 
exhibitor in America, providing said exhibitor is not 
connected, in any way, with film exchanges or with the 
manufacturing of films. 

Sec. 2. In any state where there are twenty-five or 
more exhibitors, comprising an exhibitors' association, that 
association may join this Association by qualifying for a 
state charter. 

_ Sec. 3. In states where there is no organization, an 
individual wishing to become a member of this Association 
may make application to any State Association, and, by 
qualifying, become a member thereof, with the privilege 
of being transferred to the Association in his own s^ate 
when it is organized. 

Sec. 4. Any member or members may engage in the 
manufacture of films or in the film exchange business 
upon application to and securing the permission of the 



48 



MOTOGRAPHY 



Vol. X, No. 2 



Executive Committee, and any member or members engaging in said busi- 
ness without first complying with this ruling shall stand suspended from 
this Association; and should any officer of this Association engage in said 
business his tenure of office shall immediately cease. 



BY-LAWS. 
ARTICLE I. 
Meetings. 

Section 1. The Executive Committee and Board of Directors shall 
meet semi-annually, on the day preceding the annual National Convention, 
and six months from that date, "the latter place of meeting to be selected 
bv a majority vote of the Executive Committee. 

Sec. 2. Notice of meeting must be mailed by the Secretary to the 
members of the Executive Committee and Board of Directors, at least 
twenty days previous to the dates of meeting. 

Sec. 3. A majority of the Executive Committee shall constitute a 
quorum. 

Sec. 4. In case of death or inability of any member of the Executive 
Committee, the vacancy so created shall be filled by a majority _ vote_ of 
the Executive Committee, unless such vacancy should occur within thirty 
days previous to the Annual Convention, when, in such case, the vacancy 
shall be filled by vote of the Convention. 

ARTICLE II. 

Section 1. This Association is chartered under the laws of the State 
of New York, and the headquarters of the Association shall be at New York, 
N. Y. 

Sec. 2. A state charter can be obtained in the states where this Asso- 
ciation is not represented, when twenty-five or more bona fide moving pic- 
ture exhibitors have organized for mutual protection, by making applica- 
tion to the National Secretary for a charter, accompanied by the necessary 
fee of $25, and $10 additional for a certificate of membership. 

Sec. 3. A State Association may issue charters to the various locals 
of that state when they qualify according to the laws governing that state 
All State Associations shall send two copies of their state constitution and 
by-laws to the International Secretary within three months after they are 
organized, together with a list of the state officers and their addresses. 
ARTICLE III. 
Admission Fees, Dues and Salary. 

Section 1. The admission fee of a state Association into the National 
Association shall be Thirty-five ($35) Dollars. (See Art. II, Sec. 2.) 

Sec. 2. There shall be a per capita tax of Two ($2) Dollars per year, 
payable quarterly, in advance, the first payment becoming due October 1st, 
1913. 

Sec. 3. In case a State Association fails to pay to the Secretary of the 
International Association an amount_ due, within thirty days after receiving 
notification of such assessment, claim for supplies of any nature or per 
capita tax, as the case may be, the Secretary shall immediately notify the 
Executive Committee of such failure to pay, and if, upon receiving notice 
from the Executive Committee, the remittance is not immediately forthcom- 
ing, such state shall stand suspended for thirty days, and if settlement 
is not made before the expiration of thirty days, such state shall be ex- 
pelled from the Association. 

Sec. 4. Branches of this Association, when suspended under rules of 
Section 3 (foregoing), shall have no voice nor vote in any meeting held 
during such suspension. 

Sec. 5. Complete lists of the officers and members of each state branch 
must be furnished the International Secretary by the State Secretaries 
not later than June 15 of each year, for the purpose of making the correct 
charge for the per capita tax. 

Sec. 6. The salary of the President shall be $300.00 per annum, paya- 
ble in quarterly instalments of $75.00, and all necessary expenses. The 
Secretary shall be paid an annual salary of $600, payable in quarterly instal- 
ments of $150, and all necessary expenses. The Treasurer shall be paid 
an annual salary of $150, payable in quarterly instalments of $37.50, and all 
necessary expenses. The Board of Directors shall be paid five cents per 
mile for one way travel in performance of their duties. 
ARTICLE TV. 
Appointive Offices. 

Section 1. There shall be an Auditing Committee of three appointed 



by the President at each Annual Convention to audit all accounts of the 
officers. 

Sec. 2. A sergeant-at-arms shall be appointed by the Executive Com- 
mittee to act during the Convention, ana he shall be under the direct 
jurisdiction of the Executive Committee. 

ARTICLE V. 
Delegates and Alternates. 

Section 1. Each state shall be entitled to five delegates at large and 
five alternates at large, and one delegate and one alternate for each 50 
members or majority part thereof, all in good standing. 

Sec. 2. All National Delegates' and Alternates' credentials shall be 
printed and furnished by the National Officers and sent to each State 
Secretary, and the International Secretary shall notify each member of the 
Board of Governors and State President when such cerdentials are sent, 
and all such credentials shall be signed by the State President and Secre- 
tary. Each Delegate shall present or send his credentials to the Secretary 
before the Convention is called to order, and the Secretary shall turn the 
credentials over to the Credential Committee, stating whether the pet 
capita tax of the state which the Delegate represents has been paid or not. 

ARTICLE VI. 
Duties of Members. 
Section 1. It shall be the duty of each and every member of this 
Association to notify the Secretary through the secretaries of his local 
state organization, of any matter of whatsoever nature of importance to ex- 
hibitors, for action thereon. 

Sec. 2. It is hereby made the duty of each and every officer of the 
State Association to see that there is no violation of the rule governing the 
membership of its local branches. 

ARTICLE VII. 
Misdemeanors. 

Section 1. Any transaction between a member and any person or 
corporation, whereby the system of operation of picture theaters may be 
liable to injury or degradation, shall be considered a misdemeanor. 

Sec. 2. Any attempt, by a member, firm or corporation, who are mem- 
bers of this Association, to secure the theater or location of any other 
member of this Association, or to cause the advancement of his rent, shall 
be considered a misdemeanor. 

Sec. 3. Any violation of the laws of this Association shall be con- 
sidered a misdemeanor. 

Sec. 4. The punishment for misdemeanors shall be a reprimand. If 
offense is of such character as to cause pecuniary damage to a member of 
this Association, the Executive Committee may require restitution from the 
offender as, in its judgment, it may deem proper. 

Sec. 5. It is hereby declared to be an offense against the laws of this 
Association for any member thereof to divulge or reveal, except to members 
of the Association in good standing, any of the proceedings or business of 
the Association. 

ARTICLE VIII. 
Penames. 

Section 1. Any member violating any of the provisions of the consti- 
tution or by-laws shall, upon conviction thereof, in cases where the pen- 
alty has not heretofore been specified, be subject to a reprimand, a fine and 
to exceed $100, suspension or expulsion, at the discretion of the Executive 
Committee or the Convention. 

Sec. 2. In case of a fine against a member, such fine must be paid 
within ten days from receipt of final notice from the Secretary, otherwise 
such member shall stand suspended until fine is paid. 

Sec. 3. If a member or branch of the Association be suspended or 
expelled, it shall be the privilege of this Association to publish same in any 
trade journal during the term of such suspension. 

ARTICLE IX. 
Certificate of Membership. 
Section 1. Each member must display, in a conspicuous place in his 
theater, a membership certificate. 

Sec. 2. Any member who fails to comply with this section, a fine of 
not less than $1.00 or more than $5.00 shall be assessed, and each State 
Secretary shall decide the amount and collect the same and forward to the 




.I First Internationa] 
Exposition of the Motion Pictun \n Top row, standing, Tefl to right: LouisRosenthal, M. Blumenthal, C Landau. M. Needles, Robert Whitten, 
A. Coleman, T. Kling. Second row : G. W. An. I \ \ Corn, William Allen, I. Washouer, P. Wiseme kdolpfa Baurentreund. Third row; 

ii i Fleischman, M. Goldfarb, William B Elmore, B Hirsch, Rudolph Sanders. Sitting: R. 1.. Macnabb, .1. E. Koerpel, lrank 

Cichi S H. Trigger, William Hilkemeier, Frank !■'.. Samuels, II. A. J 



July 26, 1913 



MOTOGRAPHY 



49 



International Secretary, which shall be sent to the National Treasurer to 
be placed in the National Fund for the benefit of the Association. 

ARTICLE X. 
Stationery. 

Section 1. All members are requested to have printed or stamped 
on all stationery the words "Member of the International Motion Picture 
Association." 

ARTICLE XI. 
Suspension and Dissolution. 

Section 1. When a State becomes suspended or expelled, any member 
of the State Branch, by paying his dues direct to the International Asso- 
ciation, shall be in good standing until the State is reinstated or reorgan- 
ized, and then such members shall be transferred into the State Branch 
without expense to the member. 

Sec. 2. When a member is suspended, he shall at once, on receipt of 
final notice of such suspension, return to the Secretary his certificate of 
membership and discontinue the use of the Association name in any manner 
whatsoever. 

Sec. 3. Any State Branch that is suspended from the Association shall 
pay for the first offense $25.00, and for the second $100.00, before they 
shall be reinstated, and for the third offense, expelled. 

Sec. 4. When a State Branch Association dissolves, withdraws, is sus- 
pended or expelled from this Association, their charter, all of their books 
and property shall be turned over to the National President, Secretary or 
Executive Committee of this Association. 

Sec. .3. Any member now in good standing who may dispose of his 
theater interests may retain his membership in this Association without 
voice or vote so long as he pays his dues, and in case he again becomes 
actively engaged in the motion picture exhibition business, he shall be 
reinstated with all rights and privileges of the Association. 

ARTICLE XII. 

Amendments. 
Section 1. The constitution and by-laws may be amended by a two- 
thirds vote of the members present at a regular annual meeting of the 
Association. 

*Order of Business. 

1. Call to order. 

2. Roll call of officers. 

3. Appointment of Committee on Credentials. 

4. Report of Committee on Credentials. 

5. Roll call of delegates. 

6. Appointment of all committees. 

7. Reading of minutes of previous meeting. 

8. Report of officers. 

9. Reading of communications. 

10. Report from all committees. 

11. Nomination and election of officers. 

12. Unfinished business. 

13. New business. 

14. Selection of place for next Annual Convention. 

15. Installation of officers. 

16. Adjournment. 



♦Roberts' Rules of Order. 

Frank Tichenor of New York, Robert H. Levy of 
Chicago and H. A. Victor of Pittsburg each contributed 
$100 to meet the immediate expenses of establishing the 
new association. Mr. Tichenor called attention to the 
fact that the New York League's contract with the expo- 
sition called for 25 per cent of the net proceeds of that 
event. This money will now go to the International 
Motion Picture Association. 

It was decided that a committee of five be appointed 
^to call on the General Film Comany, the Universal Film 
Company and the Mutual Film Company to ascertain 
trade conditions. 

With the passing of the following resolution, the 
meeting was adjourned until the following day, when 
officers were to be elected : 

Resolved, That the International Motion Picture Association 
in convention assembled tenders a vote of thanks to the New 
York State League and the New York City Local for the mag- 
nificent manner in which they have entertained the delegates of 
this convention. 

The election of officers Saturday for the ensuing 
year resulted as follows : Charles H. Phillips, Wiscon- 
sin, president; A. P. Tugwell, California, first vice-presi- 
dent; Harold W. Rosenthal, New York,' secretary and 
J. M. Rhodes, Indiana, treasurer. 

The following resolutions endorsing the work of the 
National Board of Censors were also passed : 

Whereas, The National Board of Censors, of New York 
City, is now recognized by every film manufacturer in the United 
States as an efficient and effective organization of public spirited 
men and women, working unselfishly for the moral uplift of the 
youth of our nation, and . 

. Whereas. The work of the said National Board of Censors 

has resulted in the production of a morally clean class of subjects 

for the motion picture exhibitors of the United States, whose 

programs are obtainable through the regular film exchanges, and 

Whereas, The suggestions, recommendations, eliminations 



and decisions of said Board are now recognized and agreed to as 
final by the film manufacturers of the United States, and ac- 
knowledged without question as official by the regular film ex- 
changes and the trade in general, and 

Whereas, Public opinion, which invariably precedes all leg- 
islation regarding public welfare, is now in support of, and in 
full sympathy with the work of the National Board of Censors, 

Therefore, Be It Resolved, That the International Motion 
Picture Association hereby tenders its official endorsement of the 
patriotic and noble work of the said National Board of Censors, 
and urgently requests all Association branches to do likewise. 

Further Resolved, That manufacturers of so-called "feature 
films," foreign and domestic, be notified that their product must 
be submitted to the National Censor Board the same as that of 
the regular exchanges, before the same can be exhibited in Asso- 
ciation theaters, except such subjects as are intended for adult 
audiences, scientific subjects, etc. 

It Is Farther Resolved, That the International Motion Pic- 
ture Association, in convention assembled, hereby goes on rec- 
ord as being unalterably opposed to any state or official censor- 
ship. 

It Is Further Resolved, That these resolutions be given to 
the press for publication, so that the whole force and weight 
of our great fraternity may be used to endorse and uphold the 
good work of the National Board of Censors. 



Ritchey Praises "Her Rosary" 

Manager J. V. Ritchey of the Reliance is not a man 
who enthuses very easily, and is seldom heard to make 
any extravagant statements about the output of his own 
studios. In view of this fact his remarks regarding 
"Her Rosary" released on July 16 are worthy of atten- 
tion. "Of course I have not seen every picture that has 
been produced, but both as an exhibitor and a manufac- 
turer I have made it my business to see a large number 
of them and I can safely say that I consider "Her 
Rosary" the most artistic single reel subject I have ever 
had the pleasure of looking at. 

Staged with wonderful dissolve effects it will be 
remembered by those who see it, for a long time." 

The beautiful words of the well known song, "The 
Rosary," are introduced throughout the picture, which 
is the story of a nun, who, kneeling in her cell, sees again 
the days when she was young and happy. She had a 
lover then and he gave her a string of rosary beads. 
Leaning over the brdge, the beads fell from her neck 
into the water. She insisted that he dive for them, but 
he could not swim and so refused. Seeing her heart 
set upon it, he however, finally dove off the bridge, but 
never came back. The tide carried his body down the 
stream and there the girl found him, and in his cold 
hand the tightly clasped rosary. Later, she could not 
bear to leave the cemetery and one day, the Mother 
Superior came and took her out of the world into the 
cold, gray convent. And each night she says her prayers 
on the rosary that cost the life of the man she loved, 
learning at last to "kiss the cross." 

Irene Howfey does some wonderful work as the 
nun, Irving Cummings plays the boy, and the picture was 
directed by Oscar C. Apf el with even more than his 
usual ability and skill. 



Selig Players Going to California 

There will be quite an emigration under the direction 
of Superintendent Thomas Persons of the Selig Poly- 
scope Company on July 18. Among those who are sched- 
uled to go to the California establishment are : Charles 
Clary, Harry Lonsdale, LaFayette McKee, Wm. Stowell, 
John Lancaster, Joe Hazelton, Harriet Notter, Lyllian 
Leighton, Miss Pierce, Hardee Kirkland and Messrs. 
Carson, Morello, Newman, Walker, Steiner and Allen. 



50 



MOTOGRAPHY 



Vol. X, No. 2 



Exposition of the Motion Picture Art 



A Mammoth Display 



SUCCESS with a capital "S" crowned 
the efforts of the New York City 
Exhibitors' League to stage the First 
International Exposition of the Motion Pic- 
ture Art, held in conjunction with the third 
annual convention of the Motion Picture 
Exhibitors' League of America. 

Though many pessimists predicted 
nothing but failure for the enterprise and 
pointed out that conditions in the trade 
were such as to make it almost impossible 
to get together a comprehensive exhibit, 
the promoters went right along with their 
plans, and as a result the Grand Central 
Palace, during convention week contained 
the greatest exhibition of the products of 
the motion picture industry that have ever 
been assembled beneath one roof. 

The gentlemen in charge of the exposi- 
tion, by their boundless energy and con- 
tagious enthusiasm, swept away every ob- 
stacle that confronted them, and when the 
doors of the big exhibition palace were 
opened to the public on the first day, prac- 
tically every exhibit was in place and ready 
for the hoard of visitors which jammed 
every aisle and thronged the display booths 
during the entire week. 

Much care was taken in laying out the 
displays and some surprisingly unique and 
artistically designed booths, gorgeously 
decorated, greeted the eye or the visitor 
when he entered the building. The thou- 
sands of lights, the gay bunting, the flashy 
pennants and the general air of good fel- 
lowship which pervaded the whole display, 
all contributed to the success of the under- 
taking and make the exposition a feature of 
the convention that will live in the minds 
of all who attended, long after they have 
returned to their homes. 

Practically every visitor to the Grand 
Central Palace was enthusiastic to the last 
degree, as they had a right to be, for never 
before has a display of goods from the 
various branches of the motion picture 
trade been made which would equal that 
shown this year. The delegates and visit- 
ors to the exposition are not alone in prais- 
ing the displays, for in a far greater de- 
gree the firms who exhibited their products 
unite in proclaiming the success of the un- 
dertaking. 

A detailed mention of the individual 
displays follows: — 

American Seating Company of Chi- 
cago and elsewhere had for inspection a complete 
line of chairs and seats for every conceivable 
kind or class of moving-picture theater from the 
very highest grade to the lowest. 

American Slide Company had mostly 
cartoon or comic sketch slides on exhibition. 
These were very well done, however, and the 
company made a number of sales. 

The American Kineto Corporation was 
represented by S. W. Bishop, who explained the 




Frank A. Tichenor. 

Chairman General Committee, 

F. I. E. M. P. A. 




Frank E. Samuels. 

Secretary General Committee, 

F. I. E. M. P. A. 




Louis I'". Hlumt'nth.'il. 

Treasurer General Committee, 

F. I. E. M. P. A. 



features of its releases which are being placed on 
the market. 

American Theater and Supply Com- 
pany displayed a variety of accessories and sup- 
plies necessary to all well conducted theaters. 
Several very courteous gentlemen were in charge 
with order books. 

Automatic Ticket Selling and Cash 
Register Machine Company held the crowds with 
a demonstration of its ticket vending machine. 
The cashier does not handle the tickets in this 
machine, and they are automatically counted, pre- 
venting theft. E. S. Bowman and D. H. Finkel- 
stein did the explaining. 

Automatic Coin Cashier Company had 
for exhibition one of the most interesting devices 
on the market. It kept one demonstrator busy. 

Bartola Keyboard Sales Company, rep- 
resented by H. B. Burton had an interesting 
display of an attachment for pianos, making it 
possible for any pianist to play an ordinary 
piano and pipe organ, xylophone, orchestra, bells, 
chimes, bass and snare drum, torn torn, triangle, 
cymbals, thunder sheet and automobile horn all 
at the same time, one at a time or in any com- 
bination, by means of a small auxiliary keyboard, 
which, mounted on a standard, swings over the 
treble end of the piano keyboard. This company 
was very courteous to Motography, and we take 
this opportunity of expressing our thanks. The 
Bartola instrument was installed in the Mutual 
Film theater on the mezzanine floor and was 
applauded by the many visitors for its variety 
of sound effects. 

Bausch & Lomb exhibited a full line of 
lenses and stereopticons and two unique pieces 
of projecting apparatus called Balopticons which 
by a Power or Edison projecting head enable an 
operator to project any printed matter on the 
screen of a theater. The double dissolving bal- 
opticon was also an attractive machine. 

Bell & Howell. This firm had per- 
forators, a new type of continuous printer with 
many advantageous features, and cameras of the 
kind are being used by the big manufacturers. 
A new camera exhibited had enough technical im- 
provements to warrant a complete article in a 
future issue of Motography. A. S. Howell was 
in charge. 

Berry Wood Piano Company exhibit 
was a well patronized one, showing three or 
four types of automatic players. 

The Billboard was represented by 
Chester Beecroft and Joe Farnham, who circu- 
lated extensively. 

Ernest Boecker. A mechanical string 
band was the magnet at this booth. The me- 
chanical bowing and fingering of the instruments 
was a very interesting part of this exhibit. 

Box Office Ticket Machine Company 
was represented by Frank L. Hough. Jr., the 
device consisting of a very compact ticket print- 
ing and selling apparatus, the tickets being auto- 
matically and secretly counted. 

Arthur Brady had a varied exhibit of 
posters, banners and lobby signs that could be 
seen for quite a distance. The Brady boys are 
all artists and know how to get up a good display. 

Children's Motion Picture League. 
This was a children's welfare organization in 
charge of several handsome ladies interested in 
elevating the character of program exhibited in 
the theaters. 

Day and Night Screen Company had 
a full line of screens on exhibition A stereop- 
ticon was used to demonstrate the screen which 



July 26, 1913 



MOTOGRAPHY 



51 



was the magnet for an almost constant crowd of curious visitors. 

Dramatic Mirror, through its representative, Fred 
J. Beecroft, was constantly before the attention of the exhibitor 
and the advertising manufacturer. 

Eastman Kodak Company, by George A. Blair, ex- 
plained how the name Eastman on the edge of raw film is a step 




Scene from "Her Rosary," Reliance. 

toward standardizing film product. Blair was assisted by a 
staff from Rochester. 

Thomas A. Edison Company. The 1913 model 
Edison Kinetoscope was shown by Walter W. Evans, Jr., of the 
sales department. The Edison Home P. K. was also demon- 
strated. A beautiful painting of Thomas A. Edison decorated 
the space and posters of the coming "Who Will Marry Mary" 
series were attractively displayed. L. C. McChesney was a 
frequent visitor. 

Electrene Company had a variety of styles of fire 
extinguishing apparatus. A squirt gun holding about a quart of 
liquid proved the most interesting to the exhibitors. 

Enterprise Optical Company had on exhibition the 
1913 model Motiograph with its approved motor drive. The 
exhibit proved very popular and was in charge of Mr. Clark 
and Bernard Corbett, eastern manager and salesman. 

Essanay Film Manufacturing Company in charge 
of Vernon H. Day had its famous "Alkali Ike" doll as a souvenir. 
Large posters of "Broncho Billy" and Francis Bushman were 
on display. A pretty vanity case was also distributed as a 
souvenir. Mr. Spoor of this company in combination with 
W. N. Selig and Geo. Kleine was responsible for one of the 
most interesting dailies distributed at the convention. 

Excelsior Drum Works with a line of trap drums 
and snare and bass drum attachments made enough noise to 
attract a crowd, and usually had it. 

Exclusive Supply Corporation, represented by Harry 
R. Raver, Ingvald C. Oes, Herbert Blache and Jos. Miles, were 
kept busy telling inquisitive exhibitors all about the new program. 
These boys were very popular and the success of their venture 
is practically assured. 

Famous Players Film Company. Ben Schulberg, 
Al Lichtman and A. Zukor were the executives in charge of this 
booth, which was a show place of famous players who have 
appeared or will appear in films by this company. A handsome 
souvenir booklet was distributed. 

Gaumont Company. Directly at the top of the stairs 
on the main floor of the Motion Picture Exposition, Grand 
Central Palace, the Gaumont Company of Paris, New York and 
London, occupied booth 367. During the period of the exposi- 
tion, a representative of the Gaumont Company was present at 
all times to meet the visiting delegates and others interested in 
Gaumont films and accessories. Edgar O. Brooks and Fred 
Halliday were in charge. 

General Film Company. This exhibit was the most 
elaborately decorated booth in the Grand Central Palace and 
was in charge of L. W. McChesney. Every big licensed film 
maker could be found in or around this booth. Frank L. Dyer 



and H. A. Boushey were frequent visitors. Various licensed 
manufacturers utilized the booth for a place where their players 
could meet the public and hold levees. 

J. H. Genter Company had on exhibition Mirroroide 
screens of various sizes. The company also equipped the Mutual 
theater on the mezzanine floor with one of its screens. The 
screen is very popular and should be a winner. J. H. Genter 
in person took charge. 

Heywood Bros, and Wakefield exhibited a large 
number of various styles of opera chairs and seats. The exhibit 
was tasty and well patronized. 

Hennegan and Company, as makers of heralds and 
dodgers this company had samples of its work on display. J. B. 
Hennegan was in charge. 

H. W. Johns-Manville had in its booth sample 
boards of asbestos stucco for the outside of the theaters, asbestos 
booths for operators and fireproof roofing material, as well as a 
line of -fire extinguishers. 

Kinemacolor Company of America had two ex- 
hibits ; one on the main floor had for the inspection of the 
curious the new model kinemacolor machine and color screens, 
etc. On the mezzanine floor was a completely equipped kine- 
macolor theater where many beautiful films in natural colors 
excited the applause of exhibitors and their friends. Felix 
Feist, A. H. Sawyer, Willard Holcomb and members of the New 
York staff were kept busy demonstrating. 

George Kleine. This big importer of films was rep- 
resented on the exhibit floor by Omer Doud, publicity man. Mr. 
Kleine arrived from Europe in time to attend personally during 
the last three days and F. C. McCarahan of the Chicago office 
came down on the last day. One of the most enterprising dailies 
distributed at the convention was put out by Mr. Kleine in com- 
bination with Mr. Selig and Geo. K. Spoor. 

Koerting and Mathiesen had on exhibition the well 
known "Excello" flaming arc lamps. E. W. Phillips was in 
charge of the booth. C. B. Wilson and J. W. Brownstein 
assisted. 

Lang Manufacturing Company displayed and sold 
a great many reminders of the same name. It had on exhibi- 
tion also an all metal reel, one of which it gave free with each 
rewinder. 

Manhattan Slide Company. The busy Frank Tiche- 
nor, who says he makes 5,000 slides per day, was in charge of 
this display of slides of every description. Mr. Tichenor is to 
be- congratulated on the excellent product displayed here. A 
splendid bronze League emblem was given away as a souvenir 
at this booth. 

Menger and Ring had on exhibition a line of wood 
poster frames and easels. A novelty of one style of frame 
which when folded forms its own shipping case makes it possible 




Scene from Eclair's "The Greater Call." 

of use by feature film men. Both Mr. Menger and Mr. Ring 
were in evidence and met many old friends and a host of new 
ones. 

H. C. Miner Litho Company had on display an ex- 



52 



MOTOGRAPHY 



Vol. X, No. 2 



tensive array of lithographs. Jeanette Cohen, the only woman 
litho saleswoman, was on the job. 

Mirror Screen Company in a booth presided over by 
the popular Frank J. Rembusch proved one of the most interest- 
ing exhibits on the floor. Exhibitors were anxious for a close-up 
view of this well-known screen. Frank was accorded the palm 
as an explainer. Sanitary drinking cups were distributed as 
souvenirs. 

Moving Picture News. Alfred H. Saunders offici- 
ated as judge on several occasions and was universally in circu- 
lation. 

Moving Picture World was represented by James 
L ; FEoff, Watso MacArthur, Arthur Blaisdell, Hugh Hoffman 
and others. They distributed a well gotten up daily and were 
the hosts at a never-to-be-forgotten press banquet. 

Mutual Film Corporation had a large and elaborate 
booth which was the rendezvous for all of the companies releas- 
ing under the Mutual banner. C. J. Hite, Bert Adler, J. V. 
Ritchie, H. E. Aitken, W. C. Toomey, H. J. Strykmans, Jules 
Bernstein, R. R. Nehls, C. Lang Cobb, Jr., Bert Ennis and others 
formed the greeters. Stanley Livingston graced the booth with 
his presence. Genuine walking sticks were given out. Fans, 
pins and cut flowers were distributed daily. 

National Cash Register Company had a fine exhibit 
of cash registers and a new device for motion picture theaters 
which will shortly be placed on the market. This is a motor 
controlled cash register and ticket seller combined which proved 
to be the wonder of the convention. It does everything. J. S. . 
Kimmel of the sales department was in charge. H. C. Ernst 
assisted. 

Newman Manufacturing Company had a new triple 
enameled brass frame with tile letters that was a winner. A 
font of 250 letters is furnished with each frame. This kind of 
a display frame can be kept clean with a damp cloth and should 
prove to be a big seller. The regular brass Newman frames in 
1, 2 and 3 sheet sizes made the booth a very handsome affair 
which always had a crowd around it. A very complete line of 
brass rail, posts, elbows, T rails, etc., filled out the exhibit, which 
was in charge of S. Newman of Cincinnati, Sidney Newman and 
his brothers. 

New York Edison Company booths were tastily ar- 
ranged with settees and chairs around a fountain and proved to 
be a haven of rest to many a weary exhibitor. 

Neiv York Telegraph was represented by "Gorden 
Trent" Milligan and George Proctor. They distributed a daily 
news sheet and glad-handed visitors. 

Novelty Slide Company. Joseph Coufal of this 
company exhibited a complete line of slides, and a brass clock 
arrangement for announcements. "Coming" slides and brass 
unbreakable feature slides were also well displayed. 

Ozone Pure Airefier Company, represented by J. F. 
Crook and a staff of assistants had on exhibition a number of 
pure air ozonifiers designed to purify air in motion-picture 
theaters. This firm made installations in the General Film and 
National Cash Register theaters on the mezzanine floor. 

Photo Machine Company had a money making ma- 
chine on exhibition. By dropping a dime in a slot a framed 
tintype of yourself was returned. The piano player folks could 
make expenses on conventions if coin slots were put on their 
instruments. Get wise. 

Nicholas Power Machine Company. It took eight 
of the large exhibition spaces to house the splendid exhibit of 
Power's Cameragraph motion picture motion heads. A model 
of every machine turned out by the company was shown. The 
latest Powers No. 6A of course being the magnet for thousands 
of exhibitors. Nicholas Power himself was there to greet his 
old friends. Others of the company in attendance were J. F. 
Skerrett, F. W. Swett, L. A. Atwater, A. J. Lang, G. W. Landon, 
Will C. Smith, B. Bohannon, A. L. Raven, Joe Abrams. But- 
tons were distributed as souvenirs. 

Precision Machine Company was represented in a 
number of booths by J. E. Robin. Several styles of the approved 
Simplex machine were on exhibition. H. B. Coles, general 
manager of the company, explained the mechanism to curious 
exhibitors. 

Rex Film Renovating Company demonstrated a film 
washing machine which had some appeal to the exhibitor. It 
surely stirred up the notion in him that his exchange no longer 
had an excuse to send him unlaundered film. 

Rive and Einstein exhibited cameras made by the 



Frese Company. The camera can be run either backwards or 
forwards without any gear change. A double swing tripod that 
the "camera was mounted on was also commented upon. 

Eberhard Schneider had a most extensive exhibition 
of cameras, printers' perforators and the many experimental 
models of mechanism evolved up to the present up-to-date 
apparatus. Everything was courteously explained by Mr. 
Schneider himself and a corps of assistants. 

Scott and Van Alteha had a beautiful booth com- 
pletely walled with slides illumined from inside. These were the 
popular song slides well known to all exhibitors. 

Selig Polyscope Company was represented by John 
Pribyl, Mr. Selig's personal representative, and Stanley H. 
Twist, press agent. The Selig-Kleine-Essanay Daily Convention 
News was reported and edited from this booth. Attractive key 
chains were given as souvenirs. 

Spray Ozone Company had an assortment of dis- 
infecting sprays and perfumery on exhibition. 

Standard Machine Company exhibited Eric Morri- 
son and his 1932 model Standard projecting machine. 

Typhoon Fan Company exhibited a number of 
types of fans and blowers. 

United Electric Light and Power Company booth 
was prettily decorated and showed power-saving devices and 
mercury arc rectifiers. An industrial film was used in demon- 
strating. 

United Ticket Supply Company had on exhibition 
a great many varieties of coupon, roll and reserved seat tickets. 
Universal Film Company booth was where you met 
your popular actor or actress who appears in the Universal 
program. Joe Brandt, made this his headquarters. W. H. 
Swanson, William Haddock, Gunning of Eclair and a host of 
actors and actresses made you feel welcome. Canes and pen- 
nants were distributed with a lavish hand. 

Whyte Whitman Company was there with a line of 
imported cameras. Exhibitors are being interested in these for 
the taking of local views. The booth was well patronized and 
presided over by two smiling gentlemen. 

Williamson Submarine Photograph. The exhibit 
had to do with a number of submarine views taken with the 
assistance of an ingenious device. Both photographs and device 
were there for inspection. 

Al H. Woods Life Target. This booth is where 
Sam Trigger made his hit. Sam was the first to shoot at a 
moving target at this exhibit, but by no means the last. It 
promises to be a very big money maker at parks, or even as a- 
special enterprise in connection with a regular theater. 

Rudolph Wurlitzer Company had on exhibition a 
number of musical instruments, automatic pianos, player pianos 
and the Hope Jones Unit orchestra. 

Wyanoak Publishing Company. A. H. Byrd and 
Louis Blum, a veteran of the photographic industry, had on ex- 
hibit photo gelatin prints of Quo Vadis. These were decidedly 
worth while and his process was admired by all. 

Warners Features in booth 359 were conspicuous 
by the tremendous display of posters announcing the next release, 
"Theodora." Abe Warner with his smile was greeting all 
visitors. Vic Johnson assisted ably. 

Theater Specialty Manufacturing Company in 
charge of G W. Armstrong had on exhibition a line of brass and 
wood frames in sizes ranging from half sheet to 3 sheets at prices 
ranging from $5.00 up. 

C. Lang Cobb was there in the interest of Ramo 
films, of which he is sales manager. 

Mrs. C. Lang Cobb, representing Union Features, 
was on the job from morn till night 

Fred Gunning represented Eclair and worked hard. 
R. R. Nehls, general manager American Film Manu- 
facturing Company, boosted the Flying A brand extensively 
from the protection of the Mutual booth. 

A. B. Giles of the Advance Motion Picture Company 
was in attendance during the convention. 



The J. A. C. Film Manufacturing Company, recently 
starting business in Los Angeles, has commenced under 
most favorable conditions. The head of the concern, ]. 
A. Crosby, is a well known technical expert in the world 
of motion pictures. 



July 26, 1913 



MOTOGRAPHY 



53 



Entertaining the Convention Visitors 

Fun For Everybody 



AS THE opening feature in the way of entertain- 
ment the Universal Film Manufacturing Company 
offered the delegates and visitors to the third an- 
nual convention of the Motion Picture Exhibitors' 
League of America a trip to the Eclair studios at Fort 
Lee, N. J., and. a visit to Palisades Amusement Park. 

The auto-bus parade to Fort Lee was scheduled fo 
start from Grand Central Palace at 1 :30, but as is usual 
in affairs of this kind it was almost an hour later that the 
machines actually got under way. Under the guidance of 
Joe Brandt and preceded by the Universal band, the pa- 
rade headed north along Lexington avenue to Forty-sev- 
enth street. Proceeding west to Broadway, the autos 
turned south and swept imposingly down the Gay White 
Way. All of the cars were gay with Universal banners 
and the big streamers revealed to the curious crowds 
along the way the destination of the party. Passing 
over Forty-second street to the Weehawken ferry the 
busses continued along the picturesque Hudson County 
boulevard to the Eclair studios, where the delegates in- 
spected the big plant and met the popular Eclair play- 
ers. Pictures of the visitors were taken by a battery of 
motion picture cameras as the guests arrived. At 6 
o'clock the party arrived at Palisades Amusement Park 
where supper was served at Nakoff's Casino and the bal- 
ance of the evening was devoted to the amusements 
which the park afforded. 

On Monday evening the General Film Company's 
booth at the exposition was scheduled to be the scene of 
a reception by the Biograph players, but the delegates 
who assembled to meet many of their picture favorites 
were disappointed, as the players failed to appear. 

Tuesday was designated as Edison Day at the ex- 
position, and all day long John Hardin stood in front 
of the Grand Central Palace, handing out little blue tick- 
ets to hundreds of delegates entitling them to a sight- 
seeing trip about the city as guests of the Edison Com- 
pany. The sightseeing trip extended from the exposition 
building up Fifth avenue, past the home of New York 
millionaires to Grant's Tomb, and the return trip was 




The Buffalo Delegation, Chaperoned by Sam Trigger of New York. 

made via Riverside Drive and Broadway. Special an- 
nouncers were on each car to comment upon and point 
out the various points of interest along the route. Every- 
one voted the trip a most enjoyable one and agreed that 
it was both pleasant and profitable. 



It was Kalem night at the General Film Company's 
booth and Guy Coombs, Anna Q. Nilsson, Irene Boyle^ 
Margarite Courtot* Hal Clements, Miriam Cooper and 
Boyd Clark shook hands with folks until their arms 
ached. 

Pathe Day occurred on Wednesday, and as guests of 
the Pathe Company hundreds of exhibitors boarded the 
steamer "Adirondack" accompanied by the Screen Club 
Band in white uniforms, and set out for West Point by 
way of the Hudson river. As the visitors ascended the 
gang plank several thousands of feet of film were taken, 
and when the lines were cast off and the trip was actually 
under way the Screen Club anthem was played by the 
band. The return trip was made in time to land the 
party in New York by six o'clock. 

Receptions were held at the General, Mutual and 
Universal booths in the evening. Among the Vitagraph- 
ers in the General booth were seen such favorites as 
James C. and Clara Kimball Young, Tefft Johnson, Lil- 
lian Walker, Ed Lincoln, Maurice Costello, Leo De- 
laney and Edith Storey. In the Mutual booth Edgen 
DeLespine, Rosemary Theby, Norma Phillips, Bobbie 
Robbins, Virginia Westbrook, Paul Scardon, George 
Walpole and Hopp Hadley entertained, while over at 
the Universal booth Jane Gail, Barbara Tennant, Carl 
Laemmle, Mark Dintenfass, Irene Wallace, Claire and 
Violet Missereau, Irene Gordon, Natalie Wakefield, Mil- 
dred Bright, Clara Horton, Julia Stuart and Helen Mar- 
ten received visitors. 

As an additional evening attraction the Hudson 
River Day Line offered the delegates a trip on the Hud- 
son on the new steamer "Washington Irving," which has 
the largest passenger capacity in the world, 6,000; and 
this trip was taken advantage of by hundreds of the vis- 
itors. The start was made at 8 o'clock from the West 
Forty-second street pier and the guests of the Hudson 
River Day Line disembarked at 10 o'clock after one of 
the most enjoyable evenings of the entire week. 

Thursday was Kalem Day at the big convention and 
the delegates and visitors were conveyed by boat from 
the Forty-second street ferry to the Cliffside studio at 
Weehawken, N. J. William Wright and a host of assist- 
ants chaperoned the party and led them up to the studio 
along a gayly decorated pathway which had been fes- 
tooned with bunting and Chinese lanterns. After all 
were seated on the spacious lawns the various Kalem 
players were introduced and circled about among the 
throng, shaking hands with their innumerable admirers. 
There was music by a stringed orchestra and then a boun- 
teous feed for all. Director R. G. Vignola, who was 
staging a big political picture, utilized the throng of 
visitors for one of the big scenes in the picture amid 
much enthusiasm and merriment. There were more 
songs and music and then the special cars were again 
loaded and the Kalem's guests returned to New York 
voting the Kalemites royal entertainers. 

Hugh A. D'Arcy and the Lubin players came over 
from Philadelphia on Thursday and with the Pathe play- 
ers entertained at the General Film Company's booth. 
Arthur Johnson, Lottie Briscoe, Crane Wilbur and Pearl 
Sindelar all were constantly surrounded by a bevy of 
friends. The joint forces of the two well known pro- 
ducing companies made an unusually strong attraction 
and the booth was packed. 



54 



MOTOGRAPHY 



Vol. X, No. 2 



The Famous Players studio was the scene of a big 
reception and dance Thursday evening, the big studio 
having been beautifully decorated with hundreds of Jap- 
anese lanterns intertwined with huge clusters of blossoms 
which hung from every part of the walls and ceiling. 
The floor was divided into three sections, a palm gar- 
den, where refreshments were served, a miniature studio 
where the guests were given an opportunity of witness- 
ing the making of a photoplay, and the other section set 
aside for dancing. Over fifteen hundred guests enjoyed 
the hospitality of the Famous Players Company and 
many well known players and managers were present 
during the evening. Two of the company's most recent 
productions, "The Good Little Devil" with David Belas- 
co's original company, and Mrs. Fiske in "Tess of the 
D'Urbervilles," were run off during the evening and were 
voted well nigh perfect. Among the many guests were 
Daniel Frohman, managing director of the Famous Play- 
ers; James K. Hackett, Beatrice Beckley, Mrs. Minnie 
Madden Fiske, Ernest Truax, William Norris, George 
M. Cohan, Samuel Harris, Harrison Gray Fiske, Grace 
LaPierre, Mary Pickford and Owen Moore. 

The Screen Club reigned supreme at the Grand Cen- 
tral Palace, the evening being officially given over to the 
only social organization for those in the moving picture 
business, an organization which has on its roster nearly 
all the motion picture actors, directors and magnates as 
well as camera men, scenario writers and press repre- 
sentatives. 

Leaving the clubhouse at 163 West Forty-fifth 
street, the members, about 200 strong, marched to Grand 
Central Palace preceded by the Screen Club Band. The 
band later played all the evening inside the hall while 
the Screeners were lions of the hour. 

The visitors who thronged the aisles of the Palace 
on Thursday evening will long remember the names 
Kay-Bee, Broncho and Keystone. These films of the 
New York Motion Picture Corporation were represent- 
ed and boosted at the Mutual Film Corporation's booth 
by Bert Ennis, publicity manager. The distribution was 
under the supervision of Miss Mae Kenny, personal sec- 
retary to Messrs. Kessel and Baumann. Mr. Ennis de- 
vised one of the most attractive novelties of Convention 
Week, namely a miniature camera, on top of which 
were the words "Keystone Fun." The unsuspecting vis- 
itor who opened it was greeted by a long sinuous snake 
(not alive), through the folds of which ran the words 
Keystone Comedies. This little novelty created a sen- 
sation and the rush for them around the Mutual booth 
broke down the fence several times and it was necessary 
to call a special officer to preserve order. In addition 
a beautiful ash tray for the men and pin tray for the 
ladies was handed to every caller. Stalking, about the 
floor in true wild west dress with the words Broncho 
labeled on his back was a cowboy who handed out inno- 
cent looking pistols, which when opener 1 revealed a pret- 
ty and seasonable fan. 

On Friday elevated trains running from Brooklyn 
bridge along the Brighton Beach line from 3 o'clock on 
were crowded with exhibitors who took advantage of the 
opportunity to visit the Vitagraph plant and studious. 
On arriving at the plant they were welcomed by "Pop" 
Rock, Victor Smith and S. M. Spcdon, and shown 
through the big institution. Among the motion picture 
stars seen at work producing pictures were John Bunny, 
Maurice Costello, Tefft Johnson, Leo Delaney, James C. 
Young, Charles Fldrcdge, ITughie Mack, Rogers Lyt- 
ton, Flora Finch, Kate Price. Lillian Walker and Edith 
Storey. 

Friday night, July 11, was Edison night at the mov- 



ing picture exposition and the great throng which 
jammed the building attested the popularity of that com- 
pany. In accordance with custom, the General Film 
Company turned over its big booth to the Edison people. 
At about 8 :30 Mr. Edison, accompanied by his wife and 
daughter, met at the Grand Central Palace and made his 
way to the booth. From that time on it was almost im- 
possible to approach the booth ; the aisles in all direc- 
tions being packed with eager visitors. C. H. Wilson, 
vice-president, Wm. H. Maxwell, second vice-president. 
Nelson C. Durand, third vice-president, L. C. McChes- 
ney, advertising manager, Horace H. Plimpton, manager 
of negative production, John Hardin, assistant manager, 
and other officials of the company, arrived at the booth 
and added to the interest of the occasion. Among the 
players in the booth were Herbert Prior, Mabel Trun- 
nelle, Laura Sawyer, Edward O'Connor, C. J. Willis, 
Charles Seay, Bessie Learn and Ben Wilson. 

The big banquet at the Brighton Beach Casino Fri- 
day night attracted hundreds, the New York State or- 
ganization being the hosts to the entire League mem- 
bership. 

The fact that there had been a serious schism in the 
League did not seem to affect the attendance at the din- 
ner in the least. There were at least 400 persons pres- 
ent in the various dining rooms of the Casino. 

What little discontent was apparent at the outset 
was dispelled by the appearance at each table, at pre- 
cisely 8 :20 p. m., of a heaping platter of steamed clams. 
With the clams went a lot of drawn butter which effectu- 
ally soothed jarring nerves. 

Down the center of the big upstairs room was a long 
table at which were seated the speakers. Some of them 
were really speakers. 

At this table were Frank L. Dyer, president of the 
General Film Company; J. Stuart Blackton of the Vita- 
graph; J. A. Berst, William P. Rock, John Rock. Frank 
Howard, Richard G. Holloman, Edward P. V. Ritter, the 
Rev. Walter E. Howe of Jersey City, the Hon. Frank I. 
Cohen, Mayor of Glasgow, Scotland, and a nephew of 
Sir Rufus Isaacs, Attorney General of Great Britain; 
Mrs. Cohen, the only representative of her sex at the ta- 
ble; Judge A. P. Tugwell, J. G. Wallace, Jr., the man 
who passes out licenses to motion picture houses ; John 
Drennen, deputy to Wallace; John Bunny, Elias B. Good- 
man, head of the Welfare Committee, William Pelzer, 
W. F. Rogers and Baron Lucke d'Aix of Germany. 

Scattered about at the other tables were about fifty 
actors and actresses. 

There was terrific applause when Len Spencer an- 
nounced that John Bunny would act as toastmaster. This 
was nothing, however, compared to the applause that 
Mr. Bunny elicited for himself when he requested the 
speakers to confine themselves to three minutes each. 

Frank Dyer of the General Film, the first speaker, 
won lasting fame for himself when he not only kept 
within the specified time, but beat it by a minute and 
seven seconds. The burden of his song was better films 
and fewer in number. This brought a round of cheer- 



ing. 



J. Stuart Blackton allowed a perfectly good chance 
at speechifying to get away from him with a few felici- 
tations. Joe Brandt of the Universal company made a 
much appreciated speech. 

Then came the Hon. Frank I. Cohen, Mayor of 
I rlasgow, Scotland, who spent at least one-half minute 
rolling every "r" and he got away with a lot of the 
"hraw laddy and bonny lassie" stuff just as if it came 
naturally. 

The Scotch mayor was followed by Commissioner 



July 26, 1913 



MOTOGRAPHY 



55 



Wallace who proceeded to throw light on some dark spots 
in John Bunny's career, including an episode when John, 
upon returning home of an evening, thought he was an 
umbrella and set himself to dry in the washstand. The 
commissioner wound up with plenteous praise of his 
chief, Mayor Gaynor, for his stand with regard to mov- 
ing picture theaters. 

After that came Mr. Holloman, who recalled the 
moving pictures of seventeen years ago ; "Pop" Rock, 
who told more of the old days ; the Rev. Mr. Howe, who 
pleaded for the motion pictures as an educational and 
religious factor in every community; Judge Tugwell, 
who told how he ran the business out in Los Angeles, 
and Reuben Simonson, who is interested in the juvenile 
population and made an impassioned plea for the con- 
tinuance of the moving picture industry. 

On Saturday, the closing day of the convention, 
the Selig, Kleine and Essanay companies entertained 
in the General Film Company's booth in royal fashion, 
the booth having been entirely re-decorated with pen- 
nants and appropriate festoons, and in the evening 
Messrs. Twist, Doud, Day and Meaney, in full evening 
costume, received a long line of visitors. Thousands of 
engraved cards were distributed by the Selig representa- 
tive reading as follows : "We regret exceedingly our 
inability to be with you in person upon this occasion, but 
want you to know that we are busily engaged in the 
preparation of pictures which will entertain you later. 
With all best wishes to our many friends we are sincerely 
yours, the players of the Selig Polyscope Company." 

The third floor of the Grand Central Palace was 
turned into an immense ball room, and there as guests 
of the Selig, Kleine and Essanay Companies the con- 
vention visitors tripped the light fantastic to the strains 
of a specially engaged Hawaiian orchestra, until a late 
hour. 



From Mabel Condon's Viewpoint 

The shouting's all over and all that remain are a few bills 
to be paid, a week of sleep to be caught up with by a thousand 
or more people, and a few hundred hoarse, throaty voices to be 
doctored back into musical existence. All this merely testifies 
to the joyfulness of the past week — "SOME week," as Abie 
from Chicago would say. 

And it was. 

From Sunday night (the sixth) when nearly everybody 
had registered, until Saturday night (the twelfth), when every- 
body checked out of the Palace laden with Chicago-night 
souvenirs and filled with Chicago-night fruit punch, the week 
was an unfaltering succession of treats on the part of the League, 
treats which checked up against the expense account of the 
studios and impromptu, unheralded treats for which the press 
or other individual gatherings stood sponsor. 

And the weather man was with the exhibitors from the 
very start. He withheld 100 degree weather and kept the rain 
in check. One of the two nights it fell, until the leaguers had 
had time to reach their night's shelter; the second rainfall was 
on Chicago night, but it would have taken a more awful threat 
than just rain to keep the crowds away on that occasion, for 
souvenirs for everybody had been announced and thousands of 
embossed vanity cases, bearing the Essanay Indian head, key- 
chains, numbered and branded with a Diamond "S," and fans 
displaying the Kleine name and pictures, became the property of 
an endless file of exhibitors and guests. An Hawaiian orchestra, 
which provided turkey-trot music, added to the attraction of the 
Palace's third floor, and, too, there was the fruit-punch. 

V. R. Day, the Essanay's well-liked general manager, held out 
bravely to within fifteen minutes of closing time, when he finally 
consented to be taken care of for the night at St. Luke's hospital 
for a case of blood poisoning which had developed during the 
week, but Sunday found him speeding Chicagoward to home 
and western care. 

"Stan" Twist bally-hooed the stiffness out of his voice and 
collar along about the last night's quarter-lap, and Don Meaney 
gasped only necessary answers to necessary questions. Omer 
F. Doud lost neither composure nor voice during the week's 



activities, and everybody marveled at Frank Hough's continued 
good nature which had done continuous duty. 

Samuel H. Trigger was ready for a week at a sanitarium 
where sleep and quiet comprise the entire diet, by the time the 
most energetic policeman had shoved the last of the enthusiastic 
crowd out the Palace door and the players who had been on 
exhibition and promenade for one or more evenings said it was 
like working in a continuous mob scene. 

Each evening the General Film Company's booth served as 
headquarters for respective licensed companies and each evening 
the policeman on guard threatened to close the booth or arrest 
everybody in it if the crowd didn't move on. 

John Bunny, in silk tile and evening clothes, did the tour 
of the hall flanked by a bodyguard of Bunny followers ; Herbert 
Prior and Mabel Trunnelle, Mary Fuller, Maurice Costello, Paul 
W. Panzer, Edith Story, Guy Coombs, Gus Pixley, Robert 
Viginola, Arthur V. Johnson, Lottie Briscoe and countless other 
well-known picture people shook the hands of countless admirers. 

The Mutual booth was given over nightly to the makers 
of its programmes and here Edgena de Lespine, Rosemary 
Theby, Flo La Badie, Muriel Ostriche, Jean Darnell and other 
blonde and brunette ladies gave away roses or carnations to the 
men who visited the booth, and Irving Cummings was most 
active among the men in the matter of greeting the lady visitors. 

Gene Gauntier made herself a favorite with everybody 
who sought her out in the Warner's feature booth, and Jack 
Clark and Sydney Olcott stood around and took their turn at 
being agreeable. 

Everywhere, on sides and center, were there booths ; box- 
ticket machines, electric light companies, your photo-taken-by- 
yourself for a dime, lithographing firms, seating companies, trade 
magazines, theatrical newspapers, film makers, musical instru- 
ments suitable for picture theaters — all were represented and all 
drew throngs of spectators. 

Then, on the mezzanine floor, were the four theaters where 
pictures were shown free all day and evening throughout the 
week and at three-thirty each afternoon and eight-thirty each 
evening, in a corner of the exposition floor, was held the scenario 
contest for amateurs. 

On the third floor each evening was an orchestra and an 
attendant crush of "trotters" ; nobody waltzes or two-steps in 
New York, they either trot or tango and the gazers enjoy the 
performance even more than the performers. 

The out-of-door attractions were all largely attended. The 
Pathe trip to West Point had the whole list of the steamer 
Adirondack's passengers as its guests, and they were treated to a 
buffet luncheon and supper on board and in the evening to a 
moonlight excursion up the Hudson. 

Edison's sight-seeing trip of New York took busfulls of 
passengers every hour and almost a thousand, it seemed, went 
on the Universal's trip to the Eclair studio and the Palisades 
and Kalem's jaunt to Cliff side. 

Then came the Vitagraph day when its guests were pre- 
sented with Vitagraph banners, given a trip through the studio 
and an out-of-door luncheon. The visitors proceeded from the 
studio to the Shelburne Casino at Brighton Beach, where those 
who had not made the Vitagraph stop joined them and at 8:30 
o'clock the first course of the official banquet was served. 

That night at the Famous Players' studio was a big one 
and won't be forgotten for many a convention. The studio was 
converted into a garden where fruit-punch was served, while 
"A Good Little Devil" did the entertainment honors on screen. 
Afterward there was dancing and a supper; the Screen Club 
was there in numbers as also was the Screen Club band and 
the photoplay people, throngs of them, and exhibitors danced the 
night into an early Friday. 

John Bunny was toastmaster and there were many and 
able toasters — there were those who over-toasted the allotted 
three minutes and some few shrinking violets who went to the 
other extreme. The event altogether was one of which its 
arrangement committee can well be proud. 

The whole week was one of such earnest felicitude for the 
care and enjoyment of the exhibitors and their friends that the 
various committees won't go at all wrong when pronouncing 
their work one of fruitful effort. 

Well done, you committees, you film distributors, you con- 
vention dailies, you film manufacturers ! And well done, you 
exhibitors and other faithful guests who attended every possible 
event, collected every possible souvenir and changed your politi- 
cal affiliation not more than once or twice. 

It was a great little week — and now we're all tired and 
want to rest. 



MOTOGRAPHY 



Vol. X, No. 2 



George Klein has another very latest story; it might appro- 
priately be called "The Jinx of 7 + 6," or "The Tale of the 
Missing Trunk." Any series of numbers that adds 13 means 
bad luck for Mr. Kleine, so he believes, and the check that 
stood for his six trunks was number 76; 7 + 6, see? Well, as 
the ship on which the Kleine party were Europe-bound was 
reaching its destination, a man approached Mr. Kleine and said, 
"See those trunks go overboard?" Mr. Kleine looked and saw 
attendants rescuing some trunks from the sea and asked if the 
man knew what number they called for. The man said it looked 
like "70" to him, so much relieved, Mr. Kleine laughed "Ha! 
Ha !" at the trunk episode and proceeded to forget all about it. 
He remembered it, however, when one of his trunks was reported 
missing and the remaining five discharged about a gallon of 
water each when opened. So Mr. Kleine wrote a letter to the 
French steamship officials asking 2,700 marks damages, and 
followed this up with a personal visit. 

"Let us negotiate," invited the office's chief negotiater, but 
Mr. Kleine preferred to do business American fashion, said: 
"Twenty-seven hundred marks or I'll sue you." "Ah ! but let 
us negotiate," pleaded the c. n. as Mr. Kleine departed the office. 
The case now pends in the hands of the Kleine agent. 

"We 'uns" who fought the good fight during the last week 
will be giving you fresh squibs about it for the next two months, 
if you'll listen to them that long. 

"Pop" Lubin, George Kleine, "Pop" Rock and other pioneers 
were faithful and interested attendants. W. N. Selig and George 
K. Spoor, while not present, were remembered and inquired 
after by many. 

Francis X. Bushman made an unannounced arrival and was 
welcomed heartily. 

An hospitable bunch, these Kinemacolor people ! "Any- 
thing we have is yours," was their welcome to Motography's 
representatives. 

Thomas A. Edison sat the Edison evening out in the General 
Film booth, where he was sought out by the eyes of the even- 
ing's thousands. 

.V. R. Day, homeward bound on the Twentieth Century 
limited, dictated back to us anxious "New Yorkers" that he was 
doing nicely, thank you, and only hoped he hadn't been a party- 
spoiler on Chicago night. That's a typical Day sentiment, be- 
cause its gist is for others. 



Photoplaying Under Water 

C. Williamson of Norfolk, Va., has devised an ap- 
paratus for carrying on operations under water. The 
apparatus was designed to take the place of the ordinary- 
diving outfit. Broadly considered, the apparatus consists 
of three parts : ( 1 ) a floating vessel of any suitable de- 




Ships Fitted with Under Watei Photographic Apparatus. 

sign; (2) ;i submersible terminal operating chamber in 

which the work is carried on at the bottom of the water, 
and (3) a collapsible flexible metallic lube connecting 
the vessel and the terminal operating chamber. 



Various types of terminal chambers are used, de- 
pending upon the class of work to be carried on ; but 
usually the equipment of a terminal chamber consists 
of tools operated by compressed air or electricity, and 
mechanical sleeve extensions with attached mittens, in 
which a laborer may slip his arms and perform his work. 
The collapsible tube communicates with the atmosphere, 




Interior of Submarine Camera Box. 

so that the laborer may perform his work under normal 
atmospheric pressure and therefore much more conven- 
iently than would be possible if he resorted to the usual 
diver's costume. 

This apparatus was recently used in Hampton Roads 
to make submarine photographs. The tube and work 
chamber were lowered from a thirty-foot barge through 
a well six feet square in the bottom of the barge. To 
take the under-water pictures a funnel six feet long 
with a two-foot six-inch glass port at its large outer end 
was bolted to the work chamber. Mr. Williamson's son 
descended into the work chamber with an ordinary cam- 
era. A frame containing a reflector and a battery of 
electric lights, aggregating 1,000 candlepower was then 
lowered from the deck of the barge so as to light the 
area around the port. Section after section of the tube 
was added until the work chamber had reached a depth 
of thirty feet. Photographs were taken at that depth. 
The apparatus was then raised to intermediate depths 
and more exposures made. 

Daylight tests were conducted which proved that at 
depths between ten and fifteen feet photographs of pass- 
ing fish and objects could he made with exposures vary- 
ing from 1/10 to 1/75 of a second. The water in Hamp- 
ton Roads is not very clear, but the experiments showed 
how much could be accomplished in submarine photog- 
raphy, in the clear waters of tropical regions with an 
aparatus especially designed for the purpose. 



Not So Funny 

William Wadsworth of the Edison players is still 
wondering whether Dan Mason really meant it or not. 
Mason swore solemnly it was all an accident, but Waddv 
is skeptical. The tun Edison comedians were playing 
a scene in which Mason, as a dentist, was supposed to 
pull one of Waddy's teeth out with a pair n\ forceps that 
looked like a Panama Canal shovel. In some way Mason 
actually got hold of a few teeth and when he yanked. 
Waddv came right up out of the chair with a roar of 
grief and indignation. It was a question of Waddy or 
the teeth and he decided that he could still use the teeth. 



July 26, 1913 



MOTOGRAPHY 



57 



Sans Grease Paint and Wig 

By Mabel Condon 




Mary Fuller. 



MARY FULLER 
was at leisure 
for a few mo- 
ments and I might see 
her. But questioning 
might annoy Miss 
Fuller, would I please 
refrain from asking 
many? I would. Al- 
so, Miss Fuller was 
to make ready for a 
scene in a few min- 
utes, would I please 
not detain her long- 
er than that? I would 
not. And another 
thing. Miss Fuller's 
picture might be ob- 
tained at the office 
and thus she wouldn't 
have to be ap- 
proached as to that, 
would I kindly re- 
in e m b e r that ? I 
would. "Then come this way ;" and, with a wave of my 
guide's hand, we set off, down a narrow corridor and 
■I wished to myself that I had been content with just 
meeting Mr. Hardin, and Augustus Phillips and Ben 
Wilson and Elsie MacLeod and the rest of those sun- 
shiny people out in the studio, for, if Mary Fuller was 
so temperamental that she didn't want to see people, 
why was I bothering to see her, and if my seeing her 

was going to bother her, why ? 

And just as I guessed I'd turn back, the guide placed 
a gentle hand on a door-knob, rapped a gentle rap and 
inquired in the gentlest of gentle. voices, "Miss Fuller?" 
"Come?" invited a clear, strong, feminine voice that I 
liked instantly ; so I came and found Miss Fuller kneeling 
on a blue crash cushion in front of her dressing table, 
sipping iced tea and eating cheese and cracker sand- 
wiches, while Walter Edwin, her director, peeled an 
orange and looked casually down at me from his six- 
foot-two elevation of bone, muscle and sun-browned 
skin. 

Evidently Miss Fuller had been apprised of my 
coming for she called me by my right name, not merely 
something that sounded like it and, removing a powder 
puff from the dresser to make room . for the glass of 
tea, she told me she was glad I'd come to see her, and 
arose and shook hands. 

There was magnetism in that hand-shake and I 
looked Walter Edwin in the eye and didn't care if he 
was Mary Fuller's director; so Mr. Edwin took his 
orange outside, intruding his head a moment later to 
caution Mary that she had better begin to "make up." 

"Very well," said Miss Fuller, resuming her pose 
on the cushion and her feast of tea and cheese-sticks. 
"Have a sandwich with me, do — and now tell me about 
your work." 

"You first," I returned, so Miss Fuller jiggled the 
ice in her tea, took a thoughtful sip and said, "I love it." 
(The work, of course.) 

"I have great, great ambition — I want to do some- 
thing that will elevate people; that will mean something 
more to them than just an hour or two of entertain- 



ment. To accomplish some good in the world, that is 
what I am striving for; I want to give people the best 
that is in me and I think much good may, and is, taught 
on the motion picture screen." 

The tea, as though unworthy of the presence of 
such ambition, was put aside and Miss Fuller, with an 
intent little line above her straight nose, clasped her 
hands and continued : 

"My work, to me, is serious work, so I go about 
it earnestly. I read and study all the proposed scenarios 
I am to do, and, as many of these — just now particularly 
— are books, it fills in many of my evenings. I don't 
mind, because I never have company anyway, and I love 
to read. I'm by myself, most all my spare time — and 
I've never had a girl chum." 

Miss Fuller paused. I said, "for goodness sake!" 
and Mr. Edwin's voice, head and shoulders came through 
the door with the warning, "We'll need you in a few 
minutes, Mary." 

"All right," returned Miss Fuller, settling back on 
the cushion. I relinquished the remaining third of my 
sandwich and guessed I'd go. "No, please don't — I 
have lots of time, and I want you to stay." So I stayed 
and Miss Mary went on : 

"I go to all the new plays and seek to learn some- 
thing from everyone of them; and I do. That's just 
what I want to give people — something instructive. I 
went on the stage when I was seventeen years old and 
after several years, I went into picture work. But I'm 
still cultivating my voice, lest I should ever return to 
the stage and, though I'm not thinking of that now, one 
never knows ; so I'm " 

"Are you ready, Mary?" came the voice of Mr. Ed- 
win, and then came Mr. Edwin, and he looked at me, 
as he said, "I'l be ready for you almost right away." 

"Yes? All right then," answered Miss Mary with 
her back toward the door, and to me: "Please don't go 
yet — I can start to get ready and you won't be a bit in 
the way." 

"But Mr. Edwin ," I remonstrated. 

"Oh, I have lots of time — " decided Miss Mary. 

"If she would only begin to 'make up,'" I wished, 
glancing toward her dresser things. But Miss Mary 
wasn't thinking of them ; she was saying, "I live in 
dreams — I have wonderful dreams of things that I hope 
some day to do ; and my dreams seem so real to me that 
I guess that is why I don't need people for companions, 
in my out-of-work hours. 

"I wonder if you saw 'The Prophecy?' You did — ^ 
Really? Well, I'm so glad you liked it, because I wrote 
it myself, and it was two years before they'd put it on. 
And all that time I had my costumes packed away, wait- 
ing to play the countess and, because the director didn't 
particularly like that part for me, I've been anxious to 
know how others liked it so you can know I'm glad 
it pleased." And Miss Mary's enthusiasm made her 
brown eyes dance under the droop of soft brown curly 
hair that came over her forehead, and her teeth showed 
white and pretty when she smiled. 

We talked of the "Mary" pictures and the new 
series," three of which have already been made and Miss 
Fuller said she had just had some new photographs 
taken and would mail me one as soon as she received 
them. I was delighted and said so. 

Then, because I knew it was time for Mr. Edwin 



58 



MOTOGRAPHY 



Vol. X, No. 2 



and his injunction to apear again upon the scene, I said 
good-bye to Miss Fuller, enjoyed another wonderful 
hand-shake and opened the door just in time to admit 
Mr. Edwin's pompadoured head. "I'm so glad you came 
■ — try to call again before you go back to Chicago," Miss 
Fuller was saying and added that she'd surely remem- 
ber to send the photograph. 

I looked for that guide, when I had found my way 
back to the studio, but he was nowhere visible. He 
ought to call on Miss Fuller some day and get ac- 
quainted. 

Featured as "Kate Kirby" 

Laura Sawyer is now being featured by the Edison 
Company as the heroine in the "Kate Kirby Series" of 
films, each of which is a thrilling detective drama. Miss 
Sawyer has been a member of the Edison Company for 

several years and has 
played innumerable 
parts during that 
time. She was a mem- 
ber of the company 
which was sent to 
Havana, Cuba, and to 
Bermuda. She has 
also toured the Cana- 
dian Rockies with an 
Edison company, and 
was a member of the 
western company 
which spent eight 
months in California 
last year. In the new 
"Kate Kirby" series 
Miss Sawyer has cre- 
ated a character role 
which bids fair to 
outdo in popularity 
even the famous 
series of "Mary" pic- 
tures featured by the 
Edison people. Detective dramas in which the mystery 
element has been sustained right up to the closing feet 
of the picture have been few and far between in the past, 
but the Edison producers have set a new standard in 
this direction and the audience is thoroughly mystified 
throughout the major portion of the picture. 





Laura Sawyer. 



Bradford Succeeds Blache 

No better selection could have been made by Messrs. 
Leon Gaumont and H. C. Bromhead when looking for a 
new "charge d'affaires" for their American interests, 
than F. G. Bradford, who has already assumed full 
control of the Gaumont Company of America. In Mr. 
Bradford they have a man of ripe experience, both as an 
exhibitor and exchange man, and one who will command 
the respect of staff and clientele alike. The reason is 
not far to seek. When motion pictures were in their 
infancy F. G. Bradford was on the job in Canada, doing 
pioneer work from Halifax to Vancouver Island; later 
we find him busily organizing the Kinetograph exchanges 
in Canada, in conjunction with Percy L. Waters, after- 
wards disposing of his interests therein to Mr. Waters; 
still later Mr. Bradford became associated with the affairs 
of the General Film Company, from which he resigned 
in order to take up the position offered by the Gaumont 
directorate. There can be no doubt that in Mr. Brad- 
ford the Gaumont Company of America has an efficient, 
capable and experienced general manager. 



E WAYNE MARTIN, national vice-president of the Motion 
• Picture Exhibitors League of Kansas, started in the motion 
picture business just four years ago with a capital of $250.00. 
Today he is the owner of three theaters, all located in Hutch- 
inson, Kansas, and one of them, the Martin, which was erected 

at a cost of over $50,000, is said 
to be the finest theater devoted to 
pictures between St. Louis and 
Denver. He is a Texan by birth 
and lived in that state the greater 
portion of his life. For many 
years he was a traveling salesman 
for a large manufacturing con- 
cern, but along in the early part 
of 1910 was able to perceive the 
growing popularity of the motion 
picture and determined to invest 
a small sum in a theater of his 
own. His first house was a huge 
success and with better pictures, 
better equipment and through 
carefully studying the wants of 
his patrons Mr. Martin was able 
to grow with the new industry. 
At present he is the owner of the 
Pearl, the Elite and the Martin 
theaters of Hutchinson, and is 
financially interested in seven 
other theaters in that locality. 
Hustle and enterprise have largely been responsible for his 
astounding success, but most of all he has made it a point to 
show none but the best pictures and to make his houses at all 
times thoroughly attractive to women and children. No low 
grade or smutty vaudeville has ever been shown in his theaters, 
and when a certain type of pictures were deemed unworthy 
Mr. Martin was quick to order them out and to book only the 
kind which his patrons desired. He is a member of the Masonic 
order and also holds membership in several other secret frater- 
nities. 




ASHLAND, ILLINOIS, was the birthplace of Carl Gregg, 
the date being April twenty-fifth, 1881. After indulging in 
the usual boyish pastimes of schooldays and attaining manhood, 
Mr. Gregg became a Boniface and conducted a successful hotel 
business for many years. The advent of motion pictures in- 
duced the genial landlord to try 
his hand in the amusement field 
in which he heard a fortune 
awaited any man. His beginning 
was extremely modest, as his first 
theater, located in Enid, Okla- 
homa, in 1908 had a seating ca- 
pacity of only ninety. The new 
amusement attracted so much at- 
tention, however, and caused such 
a harvest of dimes to flow across 
the box office window, that a year 
later Mr. Gregg disposed of his 
first show and built the Wonder- 
land theater, with a seating ca- 
pacity of 325. This theater was 
sold in 1910, and the now ex- 
perienced Gregg moved to Tulsa. 
Oklahoma, where he purchased 
the Princess theater, remodeled 
it and changed the name to the 
Lyric. He discovered within a 
few months' time that the loca- 
tion of his new house was unfor- 
tunate, so disposed of it at a good profit and bought the Empire 
theater, which had room for a full hundred more spectators 
than did the Lyric Seven months later this house was sold at a 
handsome profit, and Mr. Gregg erected another house, which 
he called the Wonderland. Finding a purchaser for this theater 
about a year later Mr. Gregg sold it and leased the Lyric and 
the Palace. In 1912 he also took charge of the Grand Opera 
House, which had a seating capacity of 1,400. At this writing 
Mr. Gregg owns the Lyric and the Grand, having sold the Palace, 
and is now erecting a house to be known as the Orpheum, 
which will be equipped to play big time vaudeville acts. 




July 26, 1913 



MOTOGRAPHY 



59 



Popular Magazine Story Filmed 

"The Scapegoat" Done in Pictures 



THE film version of William Hamilton Osborne's 
magazine story "The Scapegoat" is the American 
Film Manufacturing Company's two reel feature 
to be released on Monday, July 28. While the central 
idea of the plot, that of a great wrong committed and 
a noble sacrifice in expiation of the crime, is not exactly 
new, it is presented in a fresh light and so vividly por- 
trayed as to be highly entertaining. 

J. Warren Kerrigan, the American's handsome lead- 
ing man, plays the lead and is supported by a splendid 
cast. The story fairly bristles with action and there 
is not a lax spot in the whole two thousand feet of film. 
Some quite unusual scenic backgrounds are introduced 
and these add much to the beauty of the picture by the 
clear cut photography for which the "Flying A" is noted. 




Scene from American's "The Scapegoat." 

Several little incidents noted by the reviewer add 
much to the enjoyment of the film. For instance many 
will be interested to learn that the stock broker who ap- 
pears in the early part of reel one is a stock broker in 
real life, as is the lumberman and the judge who are 
shown in other portions of the subject. All these people 
are residents of Santa Barbara, California, and "worked . 



in the pictures" purely for the novelty and fun of the 
thing. Admirers of Warren Kerrigan, and they are 
legion, who are also much interested in obtaining a 
glimpse of, or some information regarding that twin 
brother of his, will be on the watch for the scene in 



mM- 


f 





Scene from American's "The Scapegoat." 

which Kerrigan as "John Fordyce," is released from 
the penitentiary, for the guard who opens the gate, as 
Kerrigan passes through, is none other than Jack's twin 
brother, this being the first instance in many months 
in which he has appeared in a film. The bank scenes, 
the reviewer was informed, were taken in a real Santa 
Barbara bank and are not in any sense studio scenes. It 
is rarely that film companies are allowed the use of real 
banks for picture purposes, but the courtesy afforded 
the American director and his players adds much to the 
convincing realism of these scenes. 

According to the story told by the pictures John 
Fordyce and Alwyn Jasper are bank clerks, both in love 
with the same girl, pretty Beauty Van Sant, and both are 
also inclined to dabble in the stock market. Fordyce 
and his sweetheart have been saving up their pennies for 
months past in an effort to accumulate enough for their 
little home after they are married, but Fordyce has lost 
not only all of this little bank account, but also a con- 
siderable part of the bank's funds, in reckless specula- 
tions. Jasper discovers Fordyce's loss and though he 
himself has been speculating — and fortunately winning 
he takes Fordyce to task for his acts and threatens, at 
first, to expose him to the bank officials. 

Remembering, however, that Fordyce has won the 
love of Miss Van Sant, and thinking to obtain a hold 
over him which will eventually prevent the marriage, 
Jasper finally offers to make good Fordyce's shortage 
and then suggests by innuendo that Fordyce is unworthy 
of the girl, Jasper's argument is so convincing that 
Fordyce finally goes to Beauty and confesses that he has 
been gambling in stocks and has lost all. He then breaks 
the engagement, telling Beauty that he is unworthy of her 
love. 

Jasper, meanwhile, has been unfortunate in his spec- 
ulations and finds himself short many hundreds of dol- 
lars. By means of some forged notes he obtains the 
necessary funds and when discovery is at hand weaves 



60 



MOTOGRAPHY 



Vol. X, No. 2 



such a net of circumstantial evidence about Fordyce that 
the bank examiners -suspect him, instead of Jasper. 
When the net finally- closes about the dishonest bank 
employes, Fordyce takes the blame. for the -forged notes, 
believing that he is saving Jasper from disgrace and so 
sparing the name of Beauty, who .is now Jasper's wife. 
He is sentenced to five years at hard labor. 

A baby comes to the home of the -Jaspers and suc- 
cess and happiness seems assured for them, when the 
hand of death takes the baby. Jasper then takes to drink 
and goes the pace that kills, his love for Beauty having 
waned. 

By good conduct Fordyce managed to cut down his 
five years sentence by some months and is finally re- 
leased from prison. He finds that it is hard for an ex- 
Convict to obtain employment however and drifts aim- 
lessly about his former home city. 

While drinking at his club one night Jasper falls 
from an upper window to the pavement below, and is 
fatally hurt. He lives long enough however to be car- 
ried home, and in his dying moments signs a confession, 
stating that it was he and not Fordyce who forged the 
notes. 

Beauty, broken-hearted and alone, goes to the prison 
to obtain Fordyce's release, but learns that he has al- 
ready been liberated and has gone no one knows whither. 
Beauty now devotes all her time to charitable work and 
a hunt for Fordyce. One night at a Rescue Mission she 
comes upon a miserable wreck of a man whom she 



screen one has the feeling that in after years Beauty and 
Fordyce must have. decided to comfort each other in 
their loneliness, and hopes that they both found happiness 
at last. 




n 1,111 American's "Mission Belli 




Scene from American's "The Scapegoat." 

The cast is as follows : 

John Fordyce, the scapegoat Warren Kerrigan 

Alwyn Jasper Jack Richardson 

Beauty Van Sant Vivian Rich 

President of Bank George Periolat 

Warden at Prison Charles Morrison 

On Thursday, July 31, The American will release a 
one reel subject entitled "Mission Bells," the story of 
which runs as follows: Wealthy Jack Worthington, an 
atheist, purchases a home in the beautiful mission town. 
He gets acquainted with Barbara Gordon, a devout 
church girl, and it is not long until the interest aroused 
by the first meeting develops into love. All seems to be 
going smoothly and Jack proposes. A vital question 
with Barbara is the religious attitude of her husband-to- 
be and she puts the question boldly. The couple are 
seated in a hammock and her question is acted out in a 
beautiful vision. The answer is seen in the frivolous 
look that spreads over the countenance of the atheist. 
Of course there is no engagement. Jack, on a hunting 
expedition, meets with a mishap, is found by a monk 
who has him taken to a nearby monastery where he is 
given every attention. While here the atheist is con- 
verted and later renews his attentions to Barbara, who 
finally accepts his attentions upon the monk's assurance 
of her lover's sincerity. 



recognizes as Kordycc. Taking him to her home she 
shows him the confession left by Jasper and tries to 
recompense him for the suffering and disgrace he has 
undergom for her sake. As the picture fades from the 



American Engages Fencing Master 

Mr. Hutchinson, now at the Santa Barbara studios, 
has secured the services of Monsieur Frederic Cavens, 
fencing master, who is a graduate of the Normal 
Military Fencing School of Brussels. Belgium, to in-, 
struct all actors of the American Company in the use of 
the rapier, broadsword, etc. They are rapidly becom- 
ing proficient under this skilled master and picture fans 
will soon see the American favorites in entirely new 
and novel roles, and some thrilling, picturesque and 
desperate sword play. Beautiful ladies in court costumes 
will add to the picture charm, which will be full of deeds 
of daring of the picturesque Jacques le Grand. Lorimer 
Johnston has started the production o\ a series of cos- 
tume pictures entitled "The Adventures of Jacques," 
Warren Kerrigan will he featured in the series which 
will undoubtedly prove very popular. The scenes of 
these pictures are laid in the fifteenth century and the 
mannerisms of the period will be faithfully copied. 



July 26, 1913 



MOTOGRAPHY 



61 



Motography's Gallery of Picture Players 



WALLY VAN has a high forehead, an expert knowl- 
edge of engineering, a pleasant disposition and 
ever so many other creditable things to own up to. But 
the fact that he is a real engineer is the one he takes 

most pride in — and 
who'd a thunk it of 
Cutey: But he is (an 
engineer) and has 
general charge of Mr. 
Blackton's yachts and 
motor boats and 
monkeys around in 
the Vitagraph's en- 
gine room. In his 
spare moments he 
plays "Cutey" roles 
and others and has 
come to like the play 
part of it rather well, 
though he confesses 
to a preference for 
boiler rooms and ov- 
er-alls. Perhaps it's 
difficult to imagine 
this, especially after 
seeing Wally in a 
"Cutey" picture, but 
Wally Van. Walley and "Cutey" 

are really quite dissimilar, not in looks but in disposi- 
tion. Sailing is Wally's favorite occupation in life and 
'tis said he knows so much about power boats he could 
make one himself. He's dreadfully clever, is Wally. 




DOROTHY KELLY— "little Dot"— is a regular ray 
of sunshine out at the Vitagraph studio, despite 
the supposition that rays usually are golden-haired and 
blue-eyed. But not so Miss Kelly; her hair is almost, 

if not quite, black and 
her eyes match her 
hair and she is the 
laughiest, j oiliest girl 
imaginable. She has 
beautiful teeth, too, 
and it's worth going 
any distance to see 
a Dorothy Kelly pic- 
ture. She is splendid 
in the role of enchant- 
ress though she dis- 
likes playing this kind 
of part and revels in 
that of a simple little 
home Miss or just a 
natural, joyous girl. 
She is "one of the 
girls" at the studio, 
so you see, she is 
quite young though 
she had previous the- 
atrical experience and 
Dorothy Keiiy. has been in pictures 

for almost a year. A nice and generous girl is Miss 
Kelly, proffering one of her two wonderful American 
beauties, just as a remembrance — as though that were 
necessary. 




MARY MAURICE (accent on the last syllable) has 
been working- in Vitagraph pictures for more than 
two years; before that she had been on the stage "for a 
long time/' as she expressed it. While she likes- pier 
ture work very, very 
much, there are times 
when she longs for 
the sound of her own 
voice and the inspira- 
tion of, an audience. 
"But picture making 
is so interesting' and 
it's nice work for the 
close of my life," said 
Mrs. Maurice as. she 
arranged her waist, 
patted her hair and 
answered the call of 
a director. ■ "Mother 
Maurice" is what 
they all call her at the 
studio and she is just 
that to everybody. 
She doesn't mind 
saying she is past the 
sixty - year post 
though her eyes are 

Still 'youthful and Mary Maurice. 

pretty — but then "Mother Maurice" ; is the kind that 
never gets Old; she's too broad-minded for that. And 
she plays life-portrayals with a knowledge of real life 
that few players have yet acquired. 




others, 
people 



HUGHIE. MACK is all that the name indicates and 
some more. He likes everybody and everybody 
likes him so there's no chance for an argument, no-how; 
besides, arguments are warm things and when a fellow 
reaches the 318 pound 
mark he has to con- 
sider not only his dis- 
position but his avoir- 
dupois as well, . and 
that's H u g h i e 
Mack's job. He has 
oh yes, and 
enjoy seeing 
Hughie at them (the 
jobs), for whatever 
they are, they're sure 
to mean a laugh. His 
work in the Vita- 
graph company is al- 
most of a year's dur- 
ation. Perhaps he is 
best known as "The 
Amateur Lion-Tam- 
er" ; Hughie says the 
people enjoyed that 
more than he did as 
the pursuing lion was 
untamed. While it is Hughie Mack, 

expected of all fat men that they be genial, Hughie is 
especially so: you'd almost believe he hailed from New- 
ark, but he doesn't. His benevolent smile is a perma- 
nent institution. 




62 



MOTOGRAPHY 



Vol. X, No. 2 



New American Series 

Lorimer Johnston, who is in charge of the first com- 
pany of the ''Flying A" studio at Santa Barbara, Cal., 
has just finished a special two-reel which will be the first 
ot a series laid along similar lines. In these pictures 
Warren Kerrigan is starred. They mark an absolute 
departure from anything yet done by the American Com- 
pany and are said to be on a par with anything similar 
ever attempted by any company in America. The scenes 
are laid in France in the year 1580 and are all correctly 
costumed in the apparel of that time. 

Warren Kerrigan is seen as a dashing swashbuckler 
of the period, a part dissimilar from anything he has ever 
done. The production has used all the people of the 
different companies and a large number of extra people. 
In addition to producing this picture, it was written by 
Mr. Johnston and every detail of costuming and all the 
thousand and one things necessary to a proper presenta- 
tion have been done personally by him. The title of the 
first of the series is "The Adventures of Jacques." 




Lawford Entertains Hickey 

C. W. Lawford, manager of Samuel's Opera House 
at Jamestown, N. Y., recently enjoyed a visit from 
William H. Hickey, general manager of the Kinemato- 
graph Company of London, England, and representa- 
tive of the Canadian as well as the European Kinema- 
color Companies, with whom Mr. Lawford has been as- 
sociated at various times in the past. Mr. Lawford was 
so delighted by the visit of his former associate that he 
was inspired to write the following lines of appreciation : 
Here's to you, Will, from one who knows, 

Of the battles in days gone by. 
Of the towns we made, and the bang-up shows 

We "slipped" to each native's eye. 
Of the Lowvilles and Croghans and Boonvilles, 

And other towns not on the map. 
Ah, but those were big days in the North hills, 

When for money we cared not a rap. 
But the life and experience were assets, 

That both you and I stored away, 
To draw on when'er opportunity was there, 
And I'm glad that it's with you today. 

What's a "Bo?" What's a "Lady Bo?" 

The New Majestic studio at Los Angeles was in- 
fested with tramps last week — on the stage, around the 
offices, all over the grounds. Their clothing in tatters, 
their faces unwashed, an observer couldn't help but think 
that here was a Tramp Elysium ! Not so — for each "bo" 
was really a most respectable and reputable person — act- 
ors in short, assisting Fred Mace in the making of "Ad- 
venturous Maids." There are also two lady tramps in 
this picture, pretty girls who decided to go from coast to 
coast disguised as "boes." Surely lady "boes" are a nov- 
elty, even for moving pictures. If a male hobo is called a 
"Weary Willie" might you call a female one a "Weary 
Winnie?" Marguerite Loveridge and Effie Lawrence are 
the Weary Winnies in this novel New Majestic. 



Miss Fealy's Next 
Miss Maude Fealy, whose picture debut was made 
in Thanhouser's "King Rene's Daughter," will next be 
seen in "Little Dorrit," a three reel adaptation of the 
famous Dickens story. The new Fealy subject will be 
released late in the month of July. In the earlier stages 
of the play, "Little Dorrit" "is depicted by the Than- 
houser Kidlet. Another Thanhouscr three reeler for 
July is "Tannhauser," after the opera. Marguerite Snow 
and James Cruze are featured in this. 



Marc Edmund Jones, who has discovered that Rex Beach, 
Jack London, Robert W. Chambers, Stewart Edward White, 
Emerson Hough, Richard Washburn Child and a few others of 
the leading novelists of the country are invading the photoplay- 
wrighting field, is out with a challenge in which he says he's 
going into the novel writing game himself and so buck the 
novelists in their own field. Marc calls Chicago home, and 
being for Chicago and Chicagoans first, last and always, we say 
"Go after 'em, Marc, and good luck to you." Rex, Jack, Bob, 
Ed, Emerson and Dick will have to look to their laurels or the 
name of Jones will soon be attached to a lot of "the best sellers." 

DID THE LINOTYPE STUTTER? 

The Milwaukee Evening Wisconsin, commenting on the new 
mechanical orchestra installed in the Saxe theater in that city, 
says that "among the effects produced by the new device are 
flute pipe, chimes, torn torn, snare drum, symbol clash and 
autototomobile horn." 

We lamp the Facts and Comments man of the esteemed, 
so to speak, M. P. World says "The pioneers in Motography 
(spelled it with a capital "M" too) were at the convention. We 
love to see the old familiar faces.'' Thanks, old top. 

Our little playmate, Mabel Condon, spent last week seeing 
the sights of Gotham and calling on all the big bugs in the film 
game. Before she left Mabel put in a whole day learning "The 
Face on the Floor" so she could spring it on D'Arcy of Lubin- 
ville when she went to call on him. Did she pull it on you, 
Hugh, or did her nerve fail at the critical moment? We know 
Mabel herself will never tell us, so tip us off to what really 
happened. 

THE SIDE TRACK. 
Sir: — I'm tickled to see that a few of the "moss grown, time-worn 
phrases" are going to be sidetracked by you. If the switch is still open 
run on the press agent's favorite falsehood "a wonderful, two-reel mas- 
terpiece." They seem to be tacking that on to every subject that runs 
over a thousand feet in length nowadays. E. J. L. 

That Convention News issued by Selig. Kleine and Essanay 
during the big show made some hit in little old new york, we 
hear. Twist, Doud and Meaney certainly worked overtime 
on their little stunt, and Noo Yawk must know by this time that 
there are a few "live ones" in Chicago anyway. 

Those who attended that Photoplaywright Banquet, pulled 
off down in Cleveland, Ohio, by A. W. Thomas, are still talking 
about the big eats and the good time they enjoyed. We'll offer 
five to three that the dining room of the Hotel Euclid won't be 
big enough to hold the throng that will want to attend the next 
one staged by A. W. T. 

All the dailies published at the big convention made mention 
of that white suit worn by Dick Nehls of the American. Gee, 
fellows, that was nothing. You ought to see R. R. when he's 
dressed up in his regular Sunday-go-to-meeting duds. 

The latest Selig press sheet blandly informs one that Clifford 
Bruce, the new Selig lead, "was five years in the Frohman 
service, playing a leading roll for three years." We have never 
seen the gentleman, but we would never have imagined that he 
was as roly-poly as that. 

SCENARIOS THAT ANYONE CAN WRITE. 
Aunt Martha, a supposedly wealthy old lady, dies and leaves in her 
will her home to a faithful maid servant, an old family horse to a small 
nephew, and nothing but an ancient, heavily upholstered arm-chair to 
Amos JoneB, her only son. who was generally considered her favorite. 
Amos was naturally much disappointed but refrained from publicly ex> 
pressing his surprise at the smallness of his inheritance. Some twenty 
years later Amos, who has suffered reverses in fortune and is now 
almost penniless, goes to sleep while sitting in the old chair, and drops 
his pipe from his lips while asleey. The hot ashes set fire to the chair 
and Amos awakes to find himself surrounded by smoke and flames. A 
bucket "f water puts out the tiro and then Amos discover- that much 
of the Upholstery has burned away exposing a well worn wallet contain- 
ing $500,000.00 In crisp bank notes. "That was why Mother left me the 
old chair," sobs Amos as the picture fades. 



Well, the big show is over. 
Bring on the next one. 



N. G. C. 



July 26, 1913 



MOTOGRAPHY 



63 



"King Robert of Sicily 

Longfellow's Poem in Picture Form 



n 



ON August 4th, the Essanay Film Manufacturing 
Company will release "King Robert of Sicily" in 
two parts, this being the great feature picture 
which has been in course of preparation for many 
months at the Essanay studios. 

Unusual care has been taken by the directors in 
filming this production which of course is based upon 
Longfellow's well known poem. It is gorgeously cos- 
tumed, superbly photographed and the settings are mas- 
sive in the extreme. 

The story is probably known to all but the synopsis 
given, by the Essanay's press department reads as fol- 
lows : 

PART ONE. 

Robert, King of Sicily, a proud and haughty mon- 




Scene from Essanay's "King Robert of Sicily." 

arch, scoffs at the church and proudly declares there 
is no power can remove him from the throne. One eve- 
ning, while at vespers in the church, Robert falls asleep. 
Afraid to awaken him the attendants steal away at the 
end of the service. Robert sleeps soundly far into the 
night, and awakens to find only a few candles flickering 
on the massive altar. Gazing with astonishment around 
him, Robert suddenly discovers that he is clothed in the 
rags of a beggar. Rage gaining possession of him, he 
escapes from the church and rushes to the palace throne 
room. Here he finds an angelic king seated upon the 
throne, wearing his robes, his crown, and signet ring. 



Wild with fury Robert denounces the angel as an im- 
postor, and is thrown into a dismal dungeon. Later he 




Scene from Essanay's "King Robert of Sicily." 

is visited by the angel, who again asks if he is still the 
king. Proudly Robert answers in the affirmative, and 
is further punished by being transformed into the court 
jester. The angel slowly fades from sight, and Robert 
finds himself with nothing but an ape for counsel. In 
the great banquet hall Robert is ridiculed by the pages 
when found eating scraps of food from the plates after 
the guests have gone. Still his pride dominates and his 
haughty answer "I am — I am the king," saddens the 
angel who realizes the task is not yet finished. As the 
Holy Week approaches the ambassadors from Pope 
Urbane summon the Angel King to Rome. At last Rob- 
ert sees a way to dethrone the impostor, for it is not 
the Pope his own brother ? Surely he will right the great 
wrong that has been done. So they depart o'er land and 
_ea, into the lovely land of Italy. 

PART TWO. 

Upon arriving in Rome the Pope receives them with 




Scene from Essanay's "King Robert of Sicily." 

great pomp on St. Peter's Square, but Robert's hopes are 
dashed to earth when, after an impassioned appeal to his 



64 



MOTOGRAPHY 



Vol. X, No. 2 



own brother, he finds the Pope knows him not, and jests 
with the angel saying, "It is strange sport to keep a mad- 
man at court." Seizing the furious Robert the guards 
imprison him in a cell. Easter Sunday gleams upon the 
sky and Robert, rising from his pallet, eagerly watches 
the people as they enter the church for early mass. Sud- 
denly a celestial gleam of light falls upon his upturned 




Scene from Essanay's "King Robert of Sicily." 

face, and, feeling within a power unfelt before, he kneels 
luimbly and for the first time lifts his voice in prayer. 
The Holy Week ending the Angel King returns once 
more to Sicily. Now it is that Robert seems to feel the 
angelic presence of the impostor King, and humbles him- 
self for the first time. Later, in the great throne room 
Robert, still in his jester garb, gazes from the open case- 
ment and is aroused from his reverie by the sound of the 
vesper bells and the chanting of the monks nearby. 
Watching him closely, the Angel King dismisses the 
court and, appearing before Robert, once more asks "Art 
thou the king?" For a moment Robert hesitates, then 
crosses his hands meekly upon his breast and makes 
answer, "Thou knowest best." At this acknowledge- 
oment of his lowliness the angel reveals himself to the 
king and slowly fades from view with a last blessing. 
Discovering that he is once more clothed in his regal 
robes, King Robert impulsively goes alone to the church 
and there, kneeling before the holy altar, he silently 
prays while a shaft of heavenly light breaks over the 
lofty crucifix and falls upon his humbled head. 
The cast is as follows: 

Robert, King of Sicily E. H. Calvert 

Angel King Wm. Bailey 

Pope Urbane of Rome John Steppling 

Valmond, Emperor of Allemaine Chas. Hitchcock 

Priest, Ambassadors, Court Attendants, etc. 



Film of Great Interest 

In "With Honor at Stake," the release of July 15, 
the Gaumont Company have a two-reel subject of more 
than ordinary interest, containing an abundance of novel 
situations. Mrs. D'Arcy W. Martin's adoring husband 
learns that his wife is suffering from heart trouble, and 
the doctor advises that she avoid all excitement. At 
the Norton's reception in Paris, Mrs. Martin unexpect- 
edly meets George Molyneux, a sweetheart of youthful 
days, for whom she yet retains a lingering affection. 
Molyneux is the possessor of a packet of Mrs. Martin's 
early love-letters, and she asks him to return them. He 
writes her a note expressing his willingness to hand her 
back these compromising missives, but asks that she will. 



just for the final good-bye, come in person to receive 
them. Mrs. Martin, knowing his honorable nature, 
agrees to do this, and we see her in George's house. He 
goes to fetch the letters from a deed box, but hearing a 
sharp cry of pain, rushes back to her, only to find Mrs. 
Martin quite prostrate. Molyneux is terrified, he thinks 
Madeline is dead, and his only thought now is to find 
some means whereby the honor of the woman he loves 
can be sustained. The hours drag on, Molyneux's only 
recourse is to lovingly and tenderly inter the body in a 
leafy sepulchre in the nearby woods. He slaves for 
hours at the making of a grave. 

Meanwhile Mrs. Martin's husband has become 
alarmed at her long absence, and when he hears from 
the police commissioner that his wife's handbag has been 
discovered on the person of a thief, he jumps to the 
worst conclusion, and accuses the alleged thief of kill- 
ing his wife for purposes of robbery. When Molyneux 
gets back to the house he is overjoyed to find the woman 
whom he thought dead has returned to life, and has 
suffered nothing but a sudden heart attack. Mrs. Martin 
examines her watch and finding how late the hour is, 
hurries off home to her distracted husband and much 
prized baby. Mr. Martin is in the seventh heaven of 
delight to see his wife alive and well, and promptly tele- 




Scene from Gaumont's "With Honor at Stake." 

phones for the release of the suspect, whilst Mrs. Martin 
allays all suspicion by informing her husband that whilst 
taking a walk in the woods she was suddenly seized with 
a heart attack, which excuse amply accounts for her long 
absence. 



"Mary Magdalene" in Kinemacolor 

Mr. Charles Urban has secured universal rights to 
reproduce in Kinemacolor Maeterlinck's sacred drama, 
"Mary Magdalene." and will shortly commence filming 
it in Paris. Madame Maeterlinck will sustain the im- 
portant title role, in which she has previously appeared 
with distinction. It is expected that the production will 
be ready for presentation in London, at existing Kine- 
macolor houses and an additional theater, yet to he taken. 
in the early Autumn. Mr. Urban has also acquired 
rights with regard to the same author's remarkable play 
"The Ulue Bird." 



July 26, 1913 



MOTOGRAPHY 



65 



"The Ne'er To Return Road" 

An Old Drama by Mrs. Otis Skinner 



THE press of the present day and age is so much 
inclined to emphasize and enlarge upon the follies 
and frivolities of stage folk that it is quite refresh- 
ing to occasionally get more pleasing and wholesome im- 
pressions of those who are gifted -in the matter of his- 
trionic artistry. There are many happy matrimonial alli- 
ances among American stage people, though probably 
"none more ideal than that of the distinguished actor, Otis 
Skinner, and his brilliant wife, .who; prior to her mar- 
" riage was Maud Durban. When she "hitched her chariot 
to a star" she retired from the acting stage to the duties 
of domesticity, but she did not lose her interest in the 
great world of art. In fact it was rather quickened in an 
intimate way when she found that she had a pen to 
voice her sentiments. One summer, while resting in Chi- 
cago, she attended the University, devoting herself exclu- 
sively to the study of English, and since that time many 
clever bits have come from her pen. With a thorough 
acquaintance with the technique of the stage and its 




Scene from Selig's "The Ne'er to Return Road." 

literature, it is not surprising that her thoughts should 
turn to the writing of photoplays among other literary 
endeavors and her recent venture in scenario work for 
the Selig Company, "The Ne'er to Return Road," re- 
leased on July 19, gives ample evidence of her power to 
visualize psychological values and emotions. 



The first photodrama to come from the pen of Mrs. 
Skinner, and which has been skillfully produced by 
Director Colin Campbell of the Selig company, tells a 
story of tangled lives and sustains its interest right up to 
the last scene. 

The story opens with the departure of Chris Hanson 




Scene from Selig's "The Ne'er to Return Road 



from his home and mother in Sweden. The young man 
has decided to seek his fortune in distant America, and 
we see the tearful parting with his aged mother just 
before Chris embarks on the vessel which is to carry him 
to the land of his dreams. 

Some years later Chris is discovered hard at work 
in the plant of a big mining company, where by hard 
work and diligent effort he has risen to a position of im- 
portance. His work has been so well done in fact that he 
is rapidly promoted. Madge Weatherby, a stenographer, 
employed in the offices of the mining company, has 
grown tired of her typewriter and determines to take 
time by the forelock by marrying Chris, who is a trifle 
slow to be sure, but still honest and earnest and able to 
support her in better style than that in which she has 
been accustomed to live. 

Henry Clark, a mining engineer, with a tendency to 



66 



MOTOGRAPHY 



Vol. X, No. 2 



fastness, finds that the slowness of the mining town is 
palling upon him, so gives all his spare time and loose 
change to Mrs. Hanson, who seems perfectly willing to 
be shown a good time. When Chris is called away on 
business Clark even invades the sanctity of his home and 
eventually induces Mrs. Hanson to accompany him to a 



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Scene from Selig's "The Ne'er to Return Road." 

gay cafe. Hanson, returning unexpectedly, finds the 
house deserted and starts on a hunt for his wife. He 
comes upon her and Clark in the cafe and dance hall, 
and explanations are few, hurried and unsatisfactory. 
Hanson attacks the young mining engineer who has 
broken up his home and at the first shot of the avenger 
Clark is killed. 

"The unwritten law" saves the husband from the 
gallows but he is sentenced to the penitentiary for life, 
while the unfaithful wife drifts out with the tide of 
oblivion. Mrs. Clark, the mother of the gay young 
mining engineer, is prostrated by the news of her son's 
death, and after she returns to consciousness, a shadow 
of her former self, she has no knowledge of the person 
who led to his elimination, but lives with a deep desire 
to avenge his murder. 

A number of years after the tragedy some convicts 
succeed in breaking jail, among them being Chris Han- 
son. After sliding down the mighty walls the convicts 
separate to shift for themselves and Hanson dodges 
away and some hours later is forced by hunger and thirst 
to come from cover in the Clark cornfield. He staggers 
across the little farm and finally falls fainting at the 
feet of the mother of the man he murdered. Hanson's 
prison stripes plainly proclaim him a fugitive from jus- 
tice and Mrs. Clark covers him with the rifle her husband 
left her when he left to join the posse hunting the con- 
victs. Somehow, though, the pitiful condition of the 
fugitive brings down her rifle and sends her running to 
the kitchen for food and drink. This aid brings the 
man to a sense of .gratitude and he gasps out his 
wretched story. After telling how he had killed the de- 
stroyer of his home Hanson placidly remarks "His 
name was Henry Clark." The mother starts back in 
horror as she realizes for the first time that the man be- 
fore her is the murderer of her son. Again the deadly 
rifle flies to her shoulder, but some higher power restrains 
her from sending a bullet through his brain. 

Suddenly mother love and a thought of the con- 
vict's own mother, awaiting him in distant Sweden cross- 
es her mind and she asks "What would you say were 
I to free you?" "I'd say you had a boy of your own, 
you'd like to see." answers Hanson, slill ignorant of the 
fad that the mother of the man he had killed stood he- 



fore him. Bursting into tears the gray haired old mother 
leads Hanson to the barn, supplies him with a suit of 
clothing to replace his convict's stripes and lends him 
a horse from the stable upon which to make his escape. 
Calling down blessings upon her head Hanson gallops 
away. 

Meanwhile, Mr. Clark returns from the hunt and 
in the barn finds the discarded convict garb. With this 
in his hand he returns to his wife and asks if she has 
seen the escaping prisoner. Dumbly she nods her head 
and then tells how she had helped him to escape for the 
sake of her own dead boy, and that mother who is await- 
ing him in Sweden. 

The closing scenes of the film show Hanson's re- 
turn to the old country and his awaiting his mother on 
the old pier where she was want to come to watch for 
his homecoming. 

The drama is most skillfully enacted by the fol- 
lowing cast : — 

Tim Clark Frank Clark 

Henry Clark, His Son Barney Furey 

Chris. Hansen Wheeler Oakman 

His Mother Eugenie Besserer 

Mrs. Clark Lillian Hayward 

Madge Weatherby Bessie Eyton 

Sheriff Al W. Filson 



Forbes Robertson's "Hamlet" 

No pains or expenses have been spared by the Hep- 
worth Manufacturing Company in its endeavors to bring 
to a successful conclusion what is without doubt 
one of the most interesting events that has ever taken 
place in the cinematograph industry, says a recent issue 
of the London Bioscope. The Gaumont Company was 
successful in persuading the eminent actor, Sir Johnston 
Forbes Robertson, on the eve of his retirement, to allow 
his magnificent production of "Hamlet" to be perpetuated 
upon the screen, and the work of preparing and taking 
the picture has been intrusted by it to the Hepworth 
Manufacturing Company, which is straining every nerve 
in the effort to make the whole production a success 
that will be unparalleled in the annals of cinematog- 
raphy. The entire staff has been working night and day 
for the past few weeks, making and painting the beautiful 
scenery which will be used for all the interior scenes, 
while Mowers, Hepworth's best studio, which has been 
especially enlarged for the occasion, has been set aside 
for this particular purpose, and will be used for no other 
work until the picture is completed. Very elaborate 
preparations are also being made at Bushey. where there 
is some beautiful natural scenery which is peculiarly suit- 
able, while a temporary out-of-door studio has been 
erected there in order to facilitate the work. In addi- 
tion to all this, on the cliffs of Lulworth Cove is being 
built a magnificent castle, which is an exact replica of 
the famous old pile standing in Denmark. This is being 
erected absolutely regardless of expense, the only con- 
dition laid down for the builders that it shall be an exact 
copy of the original. 

Messrs. Gaumont have had to pay Sir Johnston 
Forbes Robertson a very high price for the film, for 
which they expect a tremendous vogue, and. in face of 
the exceptional efforts that are being made by the Hep- 
worth Company, and remembering the firm's achieve- 
ments in the part with this class of work, the result will 
probably surpass their highest expectations. 

The new stage of the Brooklyn Heights Majestic 
studio has been completed. It is said to contain one of 
the largest areas of actual working space in the West. 



July 26, 1913 



MOTOGRAPHY 



67 



"The House of Mystery 

A Spectacular Kleine-Cines Release 



n 



THE detective story has always had its admirers; 
fact the touch of mystery was what made A. Conan 
Doyle more famous than his "White Company." 
The lure of the unexpected, the rapid march of events 
leading to an unknown goal always serves the purposes 
of sensation and interest. Film makers have offered 
frequent samples of the mystery tale but their efforts 
have not been crowned with the best of success because 
of the difficulty of presenting a continuous picture of 
events which are both understandable and at the same 
time interesting. 

George Kleine offers what we are inclined to think 
the last word in interest-sustaining, cleverly told mystery 
stories. This release is entitled "The House of Mystery" 
and is scheduled for release August 8. It is a Cines 
two-reel drama and without question one of the very 
best ever made by that great company. 

Exhibitors will find it a drawing card of no mean 
proportions. Its appeal is well calculated to embrace 
every kind of audience. The intellectual found deep in- 
terest in "Sherlock Holmes" while the less fortunately 
endowed found a similar joy in "Nick Carter." "The 
House of Mystery" is a combination of the two. There 
are some splendid touches of sensationalism when the 
detective ventures in the mysterious house and finds it 
all pitfalls, treacherous floors, disappearing walls and 
hooded bandits. 

Perhaps the story might have been called "The 
Seven Hats" for on seven dainty French hats, centers 
an absorbing story. Just why one pretty girl, because 
she purchased a new bonnet, should be continually find- 
ing pocket books, necklaces and the like in her pockets, 
why she should be suddenly seized, carried to the mys- 
terious house, and put through strange adventures, makes 
a tale delightful for its unexpected changes, quick action, 
easily followed yet deep-laid plot. Everyone with a drop 
of red blood will like "The House of Mystery." The 
following brief synopsis will give some small conception 
of the interest underlying this charming Cines feature. 

At a milliner's shop in the center of an important 
city, a gentleman giving his name as Count Desbro ex- 



amines a quantity of ladies' hats, decides upon one of 
simple design and agrees to buy seven more of the same 
model on the strict stipulation that no more of the same 
kind are to be made. 

While this contract is being made, Andrew Danton 
buys the hat in question for his financee, the clerk having 
forgotten to remove the hat from the window. The clerk 
is reprimanded by his employer but the employer de- 
cides to say nothing of it to his assistant. Later, An- 
drew gives the hat to his financee' who promptly begins 
to have a series of most remarkable adventures. On the 
streets, while walking she is amazed to find her pockets 
crowded with valuables. She reports the matter to the 
police who are sorely puzzled. Also she tells Andrew, 
her fiance, who seeks the help of a detective. While 
Andrew is gone, Inez is captured by banditti and carried 
away to the House of Mystery. The detective and An- 
drew survey the premises and discover that nothing has 
been taken from Inez's; room except her hat. With this 
clue the detective forces the strange bargain from the 
lips of the milliner proprietor. Sharp, the detective, 
plays another card. He sends out one of his woman 
assistants with a duplicate hat and she has much the 
same strange experience as Inez. Sharp, ever on the 
lookout, follows a woman who had dropped a pocket- 
book into his assistant's hands, into a cafe. He watches 
her enter a telephone booth, and, dumfounded at the 
length of time, she remained within, followed her. To 
his amazement he discovers a trap door. To raid the 
place and place the proprietor under arrest was a simple 
matter. With a key thus obtained, he disguises himself 
as the leader of the bandits, and, at the head of twelve 
police, forces an entrance. Many strange things happen ; 
the walls drop back, exposing mysterious recesses under 
the ground, the floors drop out from under them and 
they are precipitated into a dismal pit where Inez is 
lying. There is a stirring fight, much shooting, scream- 
ing and cursing before the gang are finally rounded up. 
Anton rescues his bride-to-be, the city is ridded of a 
dangerous and clever band of thieves, and this remark- 
able mystery film comes to a close. 



A Visit to the Cenes Plant at Rome 



By Eugene Dengler 



THE casual visitor to Rome finds the Cines plant al- 
most as much a center for sight-seers as the famous 
St. Peter's. After the release of "Quo Vadis," the 
big Cines establishment leaped suddenly into fame. Peo- 
ple who had witnessed the spectacular photodrama were 
anxious to see the studios where it was made. 

A trip to the Cines establishment gives the Ameri- 
can visitor, provided he is familiar with American mo- 
tion picture institutions, quite a different conception of 
the art of cinematography. The big Roman institution 
is divided into two gigantic departments, which are 
called the Negative and Positive divisions of the busi- 
ness. Each is under a skilled and experienced manager 
who professes to have but little knowledge of the oppo- 
site department. After all, this seems at first a bit strange 
to us, but when one considers the numerous subdivisions 



into which these two big departments are divided it is 
more easily understood. 

There are eight studios in almost constant use, only 
one of which is under glass. The rare light conditions 
make the out door studio highly desirable and the wis- 
dom of making scenes in the open air is, we think, well 
evidenced by the splendid photography that has always 
characterized Cines pictures. Under the heading of Neg- 
ative department comes that vast acreage of buildings 
where what is probably the largest wardrobe on earth 
is housed. In the yard one finds great buildings repre- 
senting practically every known style of architecture and 
the various periods of the world's history. There is a 
tailor shop in which sixty-five seamstresses can work in 
fashioning dresses of all kinds. There is even a shop 
devoted to the making of shoes and hats. In one giant 



68 



MOTOGRAPHY 



Vol. X, No. 2 




A General View of the Big Cines Plant at Rome,- Italy. 



building more than ten thousand costumes are on hand 
and even these vast stores are not sufficient to satisfy 
the demands of the Cines directors. 

Passing through the studio "lot" one steps into a 
mansion of the Pompeiian period, then to mediaeval 
.mes, through a Moorish home of the thirteenth cen- 
tury, down to the modern buildings of the Renaissance. 
The great workshops of the positive department come 
next, and here one should be prepared for many sur- 
prises. There is a tool room wherein is manufactured 
almost everything of a warlike nature, including suits 
of mail, broad-swords, javelins, etc. Here also, by the 
way, the Cines Company makes its own cans for ship- 
ping film. The raw stock is perforated, developed and 
printed in this department, colored and sent finally to 
the drying room. Owing to the many different countries 
to which Cines film is snipped, each can is addressed in 
the proper language before shipping. 

The American manufacturer has his source of sup- 
plies closer at hand than the Roman producer. Hence 
there are dozens of small departments which are all 
related to the parent organization but which would hardly 
be considered part of an American studio. Costumes are 
not so plentiful there and as a result the Roman producer 
must make his own costumes and props. How well 
the Cines Company can do this exhibitors the world 
over well know. 

Probably the world will not see for some years to 
come anything resembling that magnificent photodrama 
"Quo Vadis," with its four hundred odd scenes all true 
to the Caesarian period in Roman history; its splendid 
array of gorgeous costumes in which more than four 
thousand people were attired, with its truly wonderful 
photography and entrancing story, "Quo Vadis" will 
long remain the highest point ever re?ched in moving 
pictures. The fact that one hundred and seventy-live 
thousand dollars was spent on this single production 
argues well for the integrity and progressiveness of the 
Cines Company. 



Village Almost Burned 

Nic terrific storm which did such damage in New 
York on July 5 nearly destroyed the village which the 
Edison people were erecting near Van Cortland I 'ark. 
One complete row of houses was Mown down, and it- 
was only by good fortune that the rest were saved. 




Leah Giunchi. 



A Versatile Leading Woman. 

Leah Giunchi is one 
of the most popular act- 
resses appearing in for- 
eign-made film. Every 
one likes Leah. She pos- 
sesses a splendid person- 
ality and has plenty of 
magnetism and can do 
more masculine stunts in 
the way of feats of 
strength than any young 
woman of our acquaint- 
ance. 

Leah can act. Just 
how well, every one who 
has seen "Quo Vadis?" 
knows, for Leah played 
the female lead of Lygia 
in that master-film. 

And that suggests a 
most remarkable ability which Leah seems to possess 
alone. She can play the Tiger Woman, the Budding So- 
ciety Belle, the Middle-Aged Woman of Fashion, the 
Widowed Mother, or pretty nearly anything else that 
Director Guazzoni wants her to play. Leah can play 
comedy and does so with surprising aptitude. And when 
you consider the size of the step from the beautiful, 
serious-minded religious "Lygia" to that of the washer- 
woman who is bowled over by the grocer, you get some 
idea of her splendid powers. 

And another thing, when it comes to jumping from 
a four-story building, hanging by her arms from the top 
of a high bridge, carrying on a knife duel in the middle 
of a stream of water, riding a bareback horse at break- 
neck speed and doing similar hazardous stunts to amuse 
• fickle public, Leah is always the one selected for the 
work. She is intensely fond of animal- and during the 
production of "Quo Vadis?" was much less afraid of the 
lions than some of the animal trainers whose beasts were 
used. 

She is twenty-six years old. rides like a Centaur, is 
a splendid swimmer and a master witli the foils. Her 
shapely body houses more strength than that of most 
men, and Leah claims that outdoor life and the constant 
exercise since early girlhood is the cause of it. 



July 26,; 1913 



MOTOGRAPHY 



69 



Motion Picture Making and Exhibiting 

By John B. Rathbun 



Chapter V {Continued). 

THE lighting of the theater during the performance 
should be accomplished so that while there is 
sufficient light for a patron to find his way in or 
out, the light should not be bright enough or arranged 
in such a manner as to interfere with the viewing of the 
pictures. All of the corridors should be so lighted that 
a person can easily leave the show at any time during the 
performance, and all of the fire escapes or fire exits 
should be provided with a red lamp over the opening so 
that»iit is plainly visible from any place in the theater. 
Eight candle-power lamps spaced along the wall at in- 
tervals of about eight feet will generally provide sufficient 
illumination, although this may be increased, without 
inconveniencing the audience, if the proper shades are 
employed. 

The screen may be either a muslin curtain, a white 
painted drop, a metal surface, or a glass mirror screen, 
depending upon the amount of money that the exhibi- 
tor wishes to invest. The more efficient the screen as a 
reflector, the clearer the pictures and the less will be 
the current consumption to obtain a given illumination. 
Of the screens mentioned, the muslin is the cheapest, 
but is also the lowest in reflecting value. A fabric cur- 
tain of muslin or painted cloth is often made necessary 
for the reason that it must be rolled up during vaudeville 
acts, which of course would be impossible with metallic 
surfaces or glass mirror screens. 

Canvas screens covered with a form of aluminum 
bronze paint are very efficient reflectors and are capable 
of being rolled and unrolled many times without in- 
jury, providing that no wrinkles are allowed to form 
on the surfaces. Should wrinkles occur on a metal- 
lized screen they are much more prominent than with a 
mUslin screen, because of the high reflecting surface. A 
metallized surface is much more brilliant in the high 
lights than a cloth screen and adds considerably to the 
detail in the shadows, and there is no doubt but what 
it adds greatly to the pleasure of the spectator for this 
reason. 

No matter what surface is used with a rolling drop, 
means must be employed to fasten it securely at the 
sides and bottom to prevent its waving in the currents of 
air passing through the theater. Either a heavy pole 
must be used at the bottom or a tackle must be used to 
fasten it to the floor of the stage. The waving of a 
screen produces very disagreeable effects and should be 
reduced to the lowest possible limit. When the screens 
are not rolled up, the fabric may be mounted on a wood- 
en frame and stretched tight, so that there is no possi- 
bility of movement. 

Plaster screens having a dead white finish coat 
give good results, if kept clean, and are better reflec- 
tors of light than muslin. If the screen is to be placed 
flat against the wall a white finish coat can be given 
by the pasterers, and a black painted border run around 
for a frame. The border should not be neglected, for 
it adds greatly to the value of the projection and is ef- 
fective in eliminating the ragged edge appearance of 
an old or patched film. 

A mirror screen gives the greatest brilliancy to the 
picture because of its high reflecting value, and, there- 
fore, gives better results with the same current, or the 
same results with less current, than the muslin or plaster 



screens. The mirror used for this purpose is of thick 
glass, silvered on the back, and has a ground or frosted 
front surface. The ground glass surface reflects a por- 
tion of the light, the balance passing through the glass 
to the silvered surface where it is again reflected 
back to the audience. 

When the projector is above the center of the 
screen, as it generally is, and is pointed down, it is 
necessary to tip the screen back at the top so that the 
screen is perpendicular to the optical center of the pro- 
jector. If this is not done, the image on the screen will 
be distorted, the amount of distortion being proportional 
to the angle made by the optical center with the screen. 
For the same reason, the projector should be set exactly 
in the center of the screen in a horizontal direction. 

The construction of the ornamental "front" should 
be let to the concerns that make a specialty of such work, 
for in few cases are the local contractors capable of ar- 
ranging the work artistically or even economically. It 
should be remembered that the appearance of the front 
is of the greatest importance to the exhibitor for it is 
from this that the customers receive their first impression 
of the house. It is poor economy to cheapen this part 
of the work, or to employ incompetent labor in its in- 
stallation. 

While it is not necessary to have an elaborate or 
highly ornamental front, it should be neat and attractive 
and free from the gew-gaw arrangements affected by 
shooting galleries, that attract an undesirable class of 
patrons. The cost of fronts varies as much as the cost of 
the buildings in which they are installed, running from 
$500 to as high a figure as the owner will wish to pay, 
these figures including the cost of the ticket seller's and' 
operator's booths. In shopping districts of large cities, 
desirable fronts will probably average $2,000. 

White is almost universally adopted as the color of 
the front, not only for the reason that it is prominent and 
stands out in relief against the usual dark business build- 
ings by which it is surrounded, but because it is cheer- 
ful and pleasing, especially at night. Nothing is pret- 
tier than a well kept, clean, white show front, providing 
that the architecture is in keeping with the simplicity 
of the color scheme. White enamel brick is a splendid 
material for the construction, for it is brilliant at night, 
is easily kept clean, and never requires repainting. A 
dark structure does not suggest the character of the 
place, and is usually passed by the transient, especially in 
the day time. 

Bulletin boards for the "heralds" or advertising 
matter may be placed on the side walls or upon easels 
placed slightly in front of the ticket booth. Program 
boards giving the program of the show running at that 
time are usually placed on the front edge of the wall, 
near the sidewalk. Care should be taken in arranging the 
displays so that they will present a neat appearance, and 
because of the character of the bills this is not always 
an easy thing to do. Carelessly placed posters can easily 
rum the architectural effect of the theater. 

At night the show front should be well lighted, both 
by incandescent ceiling lights and by an electric sign 
that extends over the sidewalk. The current expended 
in the illumination is insignificant, when compared with 
the results that it brings in the way of increased patron- 



70 



MOTOGRAPHY 



Vol. X, No. 2 




A Typical Interior Decorative Treatment. 



age, especially in thickly populated districts, where there 
is much to distract the attention of the prospective trade. 
A well lighted lobby attracts more attention than all of 
the automatic noise makers in existence. A very simple 
sign is sufficient in the residential districts, where there 
is not so much to obstruct the view, a single word in 
four candle power lamps will usually be sufficient in 
this case. In locations where there is much light, a more 
elaborate sign will be required, having more lights and 
a more fanciful design, or one of the flashing variety 
that intermittently lights and extinguishes. The latter 
type, the "flashers," are the more expensive, as they must 
he provided with a motor driven switch that automati- 
cally switches the lamps in their proper relation, but 
are by far the most attractive. 

THE AIRDOME 
An airdome is simply an outdoor moving picture 
show that is run on practically the same lines as the 
old summer garden, and is therefore essentially a fair- 
weather show, in the majority of cases, although a few 
airdomes are equipped with pavillions. It is contained 
within a fenced enclosure, the screen being at one end of 



the yard and the operator's booth at the other, the inter- 
vening space being filled with chairs and tables. Usual- 
ly a stage is built in front of the screen for vaudeville 
or for a band. 

The refreshment tables, that are occasionally in evi- 
dence in the airdome, bring in a very considerable pro- 
portion of the receipts, for the crowds seeking enter- 
tainment during the summer are far more liberal in 
this matter than those patronizing the theater in the win- 
ter. When refreshments are served it is either necessary 
to provide a pavillion for this department, or obtain the 
use of a building immediately adjacent to the house. 

Nothing elaborate, either in the exterior or inter- 
ior equipment is necessary for a successful airdome. 
The chairs and tables may be of the ordinary kitchen 
variety painted an appropriate color, and the booths 
merely sheds without any pretence of architectural beau- 
ty. The illumination scheme is simple, consisting of 
waterproof incandescent wall fixtures mounted on the 
fences and pavillions, or strung along weather-proof 
leads strung from one post to another. The ticket booth 
is a simple form of sentry box located at the gate. 



July 26, 1913 



MOTOGRAPHY 



71 



When it possible for the. owner of an existing thea- 
ter to obtain a lease on a vacant lot next to his theater, 
it is possible for him to have an all year business, for 
when the weather becomes warm and the patronage of 
his theater declines, he has simply to move his projector 
into the park and continue his business in the open air. 
This arrangement solves the dull season problem ex- 
perienced by every manager during the summer. 

THE PROGRAM. 

After the construction is completed, the manager 
will be brought to face with one of the most difficult 
problems met in the motion picture business, that of 
choosing a suitable program for an unknown audience. 
Nearly every theater owner has started out with the mis- 
taken idea that he would furnish a program along some 
particular line, such as educational releases, travel pic- 
tures, comedy, etc., that would make his place of busi- 
ness "distinctive," and out of the ordinary. In his mind's 
eye he sees a naming placard, such as "The House of 
Comedy," "The Travalogue," or some equivalent title 
denoting the uplift movement, or some similar interest 
that he believes is shared by the majority of his future 
patrons. The opening night passes, and with it comes 



the awakening, for his pet subject has either been met 
with cool indifference or open complaint. The trouble 
has been that this man simply studied himself, and not 
his audience. 

A first week program should be as diversified as 
possible, including every thing from dramas to scen- 
ics, the ultimate program being determined by a process 
of elimination, rather than one of construction. The 
taste varies with the locality, and the popularity of any 
one subject is soon found, if the manager will pay at- 
tention to the comments of the audience as they leave 
the theater. He should endeavor to connect the criti- 
cisms with the people by whom they are made, and 
serve the regular attendance as nearly as possible with 
what they require. The picture fan is the foundation of 
his business, and is soon lost if a competitive house 
opens in the vicinity that offers shows more to his lik- 
ing. 

An affable manager is an asset to any theater, es- 
pecially in the residential districts, and if he assumes 
the duties of an usher, or stands at the door and greets 
his patrons pleasantly he has made a long step in es- 
tablishing the house in the esteem of the neighborhood. 




Another Example of Theater Interior. 



72 



MOTOGRAPHY 



Vol. X, No. 2 



By chatting casually with the members of his audience, 
he not only discovers their likes and dislikes, but also 
learns many things concerning his competitors that are 
often to his advantage, such as the advertising methods, 
songs, pleasing vaudeville acts that they have presented, 
or methods of reducing the cost of operation. From 
the same source he discovers the results of incivility 
among his employees, a matter to which he cannot pay 
too much attention. 

The film exchanges, from which the exhibitor ob- 
tains his films, take all of the films from the producers 
that they represent, at the same price per reel, and con- 
sequently has no particular interest in picking a suitable 
program for the exhibitor. If the exhibitor is to receive 
the class of photo-plays that his audience demands, he 
must watch the releases carefully and see that he gets 
what he pays for. To keep thoroughly in touch with the 
new releases, the theater manager should constantly study 
the motion picture trade journals and note the release 
dates of the films that strike his fancy. From these 
magazines he can obtain the story of the films and pic- 
tures illustrating the vital points in its action, and through 
the film records that list the plays, together with their 
dates, he can keep in touch with the entire situation. 

In the larger cities, the film exchanges provide the 
exhibitor with the opportunity of witnessing the films 
from start to finish in their small show rooms. In this 
case the exhibitor is in a position to choose intelligently 
and list such features as may appear desirable. In the 
case of outlying theaters using second and third run 
films, it is best for the manager to visit several of the 
larger city theaters where he can view the films of which 
he has read, and listen to the comments of the audience. 
The attitude of the audience will prove as a guide in 
selecting the release and will put the exhibitor in more 
intimate contact with the theater-going public. 

Feature films, which are unusual elaborate or ex- 
traordinary productions, generally two or more reels in 
length, should be carefully examined at the exchange or 
elsewhere before being extensively advertised by the 
exhibitor. While these films are energetically pushed 
by the manufacturers, and are often films of merit, they 
may not be of a class suited'.to the theater under consid- 
eration, and therefore should, be carefully investigated 
by the management before devoting the evening to a mul- 
1 ti-reel subject. When a multi-reel feature is decided up- 
on, it should be advertised by the theater for several 
days in advance of its appearance, by displaying posters 
in front of the theater, an~d often by handbills. A fea- 
ture film should be made a feature, and special atten- 
i tion should be paid to the subject of publicity. 

Many theaters have "special program" night on 
which they exhibit one certain make of film only, regard- 
less of the subject. A permanent announcement board 
at the front of the theater lists the nights on which the 
admirers of any one producer can view his favorite 
film: "Selig night, Tuesday;" "Essanay night, Wednes- 
day," and so forth. The success of this arrangement is 
due to the popularity of the actors and actresses em- 
ployed by the different film concerns, whom the moving 
picture fans regard in the same light as "matinee idols" 
of the legitimate theater are worshipped. Managers of 
theaters that have adopted this system have noted that 
quite a percentage of their audiences appear only on 
nights when a certain make is announced. 

When there are many children in the neighborhood 
of the theater it is advisable to try the experiment of 
offering some film that would interest them particularly. 
These films should be shown shortly after the close of 



school and on Saturday afternoons. Animal pictures, 
trick pictures, and scenics in which there is much action 
generally make a hit at the children's performances. 
Care should be taken not to make these entertainments 
too "high-brow," nor should dramas be included. 

Whether a theater should have a vaudeville act in 
connection with the pictures can only be solved by ex- 
periment. Many people object strenuously to the intro- 
duction of vaudeville, as they had rather have pictures 
only for their money. Others are dissatisfied with the 
kind of program that is sometimes presented by a careless 
picture show manager, a condition usually found in the 
better class of residential districts. In our opinion it is 
best to exhibit pictures and pictures only, with possibly 
an occasional song number, than to offer a program that 
is cut up and lacking in character. Let the vaudeville 
houses run the vaudeville. 

Illustrated songs are a matter of taste, some pre- 
fering the song slides and others the "spot light" sing- 
er, and as there are many large and excellent city 
houses employing both methods, it is hard to say which 
is the best. The use of song slides involves an additional 
expense, and additional equipment and handling in the 
operator's booth. In many of the larger houses it is com- 
mon practice to have one or even two additional oper- 
ators in the booth simply for the projection of the slides 
and announcements. In case it is decided to run illus- 
trated songs, the slides may be obtained either from the 
film agency or from an agency that makes a specialty of 
song slides. 

Almost any locality is capable of producing a sing- 
er or pianist for the musical features of the show at a 
moderate pice. The salary of these people will naturally 
vary considerably, depending upon the size of the town 
and upon the local musicians' union, if there is one, the 
outside limits ranging from $1 to $3 per evening. When 
a drummer is added to the "orchestra," he should re- 
ceive the same amount as the pianist, except where the 
local union rules otherwise. An automatic piano or 
orchestrion may either be rented or bought outright, 
and is effective in reducing the expense in the smaller 
houses. In some cases these instruments are used to 
provide music during the intervals between the songs 
while the pictures are running, the pianist at this time 
performing other duties around the show, such as tend- 
ing the ticket box or ushering. This latter arrangement 
is often made when the manager assumes the part of 
the pianist. The automatic player is also useful when 
the musicians fail to appear. 

Vaudeville acts should be booked from a dramatic 
agency, which is by far the most reliable method open 
to the exhibitor. The cost of these acts will run from 
$25 for each actor per week, up to any price that the 
exhibitor can afford to pay. When embarking in the 
vaudeville line, the proprietor of the show should care- 
fully follow the different acts that are being put on by 
the various booking agencies, so that this portion of 
the entertainment will be the best that it is possible to 
procure at the price. In neighborhood theaters, or where 
the patrons are in the habit of visiting a show more than 
once in a week, it is usual to present two different acts 
in a single week. 

When the owners of two nearby theaters can co- 
operate with on.e another, or when two theaters are run 
by one man, it is possible for each theater to hire an 
act, and then exchange them in the middle of the week, 
thus giving each house two changes of bill each week. 
The same method may be adopted in handling the film. 
(To be continued.) 



July 26, 1913 



MOTOGRAPHY 



73 



Of Interest to the Trade 



Warner's Offer "Theodora" 

"Theodora," the spectacular three-reel production 
now being booked by Warner's Features, was shown in 
Chicago at a private exhibition at Fulton's on Thursday 
morning, July 3, to a large number of exhibitors and 
representatives of the press, through the courtesy of 
Phil. H. Solomon, local manager of the Warner offices. 
The films, which feature Mile. Sahary-Djeli in the title 
role, abound in thrilling scenes and superb settings. The 
photography is excellent throughout and the costuming 
wfll nigh perfect. Staged amid backgrounds of oriental 
spJ^ndor, the principals, backed by hundreds and hun- 
dreds of correctly garbed supernumeries, are enabled to 
"get over" a most convincing play of the days when Jus- 
tinian ruled as emperor of Rome. 

The story of the pictures follows closely the plot 
of the novel and the director has most carefully worked 
up to his big climax, retaining at all times the element of 
suspense and holding the audience almost breathless in 
expectancy as they await the outcome of the action being 
slowly^ unfolded before them. Nearly all of the court 
scenes have a great depth and vast numbers of people 
are used in making the views in the palace of Justinian 
realistic and impressive. 

The story of Victorien Sardou's great novel is too 
well known to need repetition but briefly it may be sum- 
marized as follows : 

t Justinian, emperor of the Roman Empire of the 
East, has by his tyranny brought down upon his head the 
hatred of his subjects. 

One day the Empress Theodora, with veiled face, is 
passing through the market place of Byzantium, the cap- 
ital of the Empire, when a riot starts against the em- 
peror. She is saved from the fury of the mob by a hand- 
some stranger. Struck by the Apollo-like figure of her 
benefactor, she dispatches her slave after him with a note 
signed "Myrta." 



meet her as she requests. Now the empress has suc- 
cumbed to a sudden passion for the handsome Greek, 
and so the rejection of her advances fills her with despair. 
As the emperor had that day issued a particularly 




Scene from Warner's Three-Reel Feature "Theodora." 

Now, this is Andreas, a Greek, the leader of a band 
of tempestuous spirits who have organized themselves 
to avenge the wrongs of the people. 

He sends back word to Theodora that he cannot 




Scene from Warner's Three-Reel Feature "Theodora." 

imperious decree, the friends of Andreas decide that the 
time has come for the master stroke. That night they 
cast dice to decide who shall kill Justinian and Theodora. 
The fates decree that Marcellus shall undertake the dan- 
gerous mission. 

Just after the conspirators have departed from the 
home of Andreas, Theodora, whom he, of course, knows 
only as "Myrta," comes to him. While there she dis- 
covers the death compact against herself and Justinian. 
Tearing the name of Andreas from the parchment and 
hastily concealing it beneath her robe she hurries back 
to the palace. 

Theodora discloses to the emperor the mutilated 
parchment which gives the names of the conspirators. 
He immediately orders their secret arrest. 

When Marcellus enters the palace to assassinate the 
emperor and Theodora, he is surprised and captured 
by the imperial guard. During the torture which is 
*hen inflicted upon him, Theodora, in fear that he may 
disclose the name of Andreas, stabs him. 

The next day, during the progress of the games in 
the amphitheatre, an attack, headed by Andreas, is made 
on the royal pair. It is not until the Greek is seized and 
bound that he recognizes Theodora as the woman he 
has known as "Myrta." Rage soon overcomes his 
amazement and he reproaches her most bitterly for the 
death of Marcellus. 

Fears for her lover and fears for her own safety 
cause terrible strife in the breast of Theodora. The 
Emperor has become suspicious of her and is constantly 
on the alert for some proof of her infidelity. 

When Theodora visits Andreas in his dungeon, he 
reviles her most bitterly, disclaiming all feeling of affec- 
tion and assuring her that she can never expect any- 
thing from him but hatred and loathing. 

The unhappy empress, in a frenzy of despair, hastens 
to Tamyris, a sorceress, and secures from her a love 



74 



MOTOGRAPHY 



Vol. X, No. 2 



potion that will awaken the dormant love in the breast 
of Andreas. 

Now, Tamyris is the mother of Amaron, who has 
been killed in the rioting in the arena, and she, thinking 
the potion is for Justinian, in a spirit of revenge, mixes 
instead of a love potion a deadly poison, which she gives 
to Theodora. 

When the empress returns to the palace she learns 
that during her absence Andreas has been tortured. 
When she summons him he upbraids her afresh. Over- 
come by pain and the effect of his exertion he swoons. 
While in this state Theodora gives him the magic 
draught. Under its influence he revives only to start 
his reproaches anew. Suddenly a peculiar change comes 
over. him; his limbs stiffen, the eyes turn glassy and 
convulsive shudders seize him. The poison of Tamyris 
"has accomplished its end — Andreas is dead. The awful 
realization causes Theodora to fall in a dead swoon 
across the body of her lover. 

In this position she is found by Justinian. When 
Theodora is revived she learns that her doom is sealed. 
Entreaties and implorings are in vain. The executioner 
is ordered to do his duty. With one last look at the 
body of her lover, Theodora resigns herself to her fate. 
A few quick turns of the garotte and all is over. Theo- 
dora has sowed the wind and reaped the whirlwind. 



An Indian Star 

The Broncho and Kay-Bee films, world famous for 
their spectacular and massive Indian-Military produc- 
tions, are unique al- 
so in the fact that all 
those of their com- 
pany who portray In- 
dian roles in these 
plays are bona-fide 
dyed-in-the skin, so 



to speak, red men. 
Prominent among 
these is "Running 
Deer," a very good 
likeness of whom ap- 
pears herewith. This 
young Indian possess- 
es intelligence and 
ability and really has 
many first-class per- 
formances to his 
credit on the screen. 
He takes the utmost 
interest and pride in 
his work, regarding 
himself and his "art" 
most seriously. His 
grave, stoical bearing 
in chieftain roles, and 
limbs and quick eye in parts portraying a young 
, lend true atmosphere and realism to the films in 
he appears. 




supple 

Indian 
which 



building, New York, and the conspirators, the staff of 
the Moving Picture World, aided and abetted by Eric 
Morison, Joe Farnham, W. P. Milligan and a fly cop. 
The invitation begged me to forget my business ; sign 
the card and let nothing interfere with my being present. 
I did all of those things, but I found a lot of phoney 
business right off the bat. 

But they wouldn't let me talk. 

I shall hope to get even with them ! 

These men responded to the World's invitation : 
Wm. Wright, J. P. Chalmers, E. W. Sargent, Jos. L. 
Hoff, Stan Twist, Don Meaney, E. O. Brooks, Omer 
Doud, R. R. Nehls, Geo. A. Blair, Jno. F. Miller, Geo. 
Blaisdell, L. J. Reynolds, Wm. M. Petingale, Pop Hoad- 
iey, Ben Goetz, Wm. L. Wright, Ben Schulberg, Jas. 
S. McQuade, Phil Lang, Hamilton Smith, H. D. Ash- 
ton, H. R. Raver, Ben H. Atwell, Paul Gulick, H. Z. 
Levine, Dore Hoffman, Eric Morison, Hugh Hoffman, 
John B. Clymer, Ed A. Kaufman, Ed Barry, E. J. Hud- 
son, J. A. McKinney, G. U. Stevenson, S. B. Johnson, 
J. F. Low, S. F. Clark, Jack Burn, Hopp Hadley, Calder 
Johnstone, Capt. Leslie T. Peacocke, V. R. Day, W. P. 
Milligan, Joe Farnham, Chas. Fuller, Archibald Cutey 
McArthur, M. L. Livingston, R. C. McElravy, H. C. 
Judson, H. A. D'Arcy, John F. Chalmers, W. S. Rush, 
F. L. Hough, John Wylie, D. J. Shey, W. H. Jackson, 
L. R. Harrison, G. D. Proctor, F. E. Sniffen, Lloyd 
Robinson and Ed Mock. 

After Hoff introduced Wylie, who welcomed this 
hungry bunch, the fireworks started. Babe Farnham 
broke up some of the dishes to interrupt the Goat Man 
and he was promptly put out. Modesty prevents an ex- 
tended account. Among those called upon for addresses 
were : Messrs. Mock, Miller, Hoadley, Bush, D'Arcy, 
Raver, McQuade, Wright, Johnston, Nehls, Schulberg 
and Chalmers. Sargent was master of the traps and 
Bush drew a bushel of corned beef hash. The World 
dinner was a thoroughly enjoyable affair. 



Venus Features 



"The Sleeping Beauy," a wonderful three-reel pic- 
ture produced by that sterling director, Harry C. Mat- 
thews, marks the entree in featuredom of the Venus Fea- 
tures. Charles Simone who was general manager of the 
Nestor Film Company from the inception of that con- 
cern until it passed into the hands of the Universal Film 
Manufacturing Company, and now general manager of 
the Centaur Film Company of New Jersey, is at the 



The World Entertains 

They tried hard to get my goat and came nearly 
succeeding. The time was Wednesday night at eight 
o'clock. July nine; the place, Taverne Louis, Flat Iron 




Scene from "The Sleeping Beauty. 



July 26, 1913 



MOTOGRAPHY 



75 



helm of this new feature enterprise, which in itself is 
a guarantee that the best may be expected from Venus 
Features. 

Thomas W. Evans, who is "well-known in film cir- 
cles is manager of production, another excellent reason 




Scene from "The Sleeping Beauty." 

why Venus Features should promptly march to the head 
of the film procession and maintain the lead. J. Far- 
rell McDonald and Harry C. Matthews are the pro- 
ducing directors of Venus Features, and they have sur- 
rounded themselves with two large all-star companies 
of players, prominent among whom may be mentioned 
Constance Crawley, Arthur Maude, Joe Harris, Elsie Al- 
bert, Little Early and Baby Matty. 

Some of the future releases are : "A Florentine Trag- 
edy," "Francesca da Rimini," "The Second Mrs. Tan- 
queray," "I Pagliacci," "The Runaways" and "Golden 
Locks and the Three Bears." Venus features will be 
sold on the territorial rights plan. Mr. Simone informs 
us that bids are coming in with a speed that is very en- 
couraging. The studios of the Venus Features are lo- 
cated in Hollywood, California, and the sales offices are 
on the tenth floor of the Candler Building, No. 220 West 
42nd St., New York. 



"From Out of The Depths" 

The American Kineto Corporation, 1018 Longacre 
Building, New York City, which is agents in the United 
States and Canada for Peerless, Columbus, Ajax, Em- 
press and Hecla films announces its first release as a 
two reel Peerless feature entitled "From Out the Depths." 
The heralds issued by the American Kineto Corporation 
tell the following story of the feature : 

This story concerns the fortunes of a young Eng- 
lish lass and her artisan husband, Jim Warren. Nellie 
Lee, loving, good-natured, pretty as a peach, and true 
as steel ; Jim Warren, a bluff hearty fellow of splendid 
instincts, but needing "the fires of fate," to temper his 
somewhat easy nature. 

Briefly summarized, we have here a splendidly acted 
domestic drama, opening in the quiet little village of Elm- 
hurst in rural Britain. Nellie is returning home, full of 
thoughts of her sweetheart. Lurking in the background 
is the sinister figure of Harry Foster, a kid-gloved crook, 
who follows Nellie down the rustic lane, accosts her, 
forces upon the girl his unwelcome attentions, and at- 
tempts to steal a kiss. Foster's voluptuous dreams are 
rudely shattered by Jim Warren's burly fist coming in 
violent contact with his face, and the discomfited "mash- 



er" hurls curses at the couple as they lovingly wander 
towards Nellie's home. 

Next we are introduced to the simple marriage of 
the lovers, Foster frowning his maledictions at the church 
door. Time passes, Nellie and Jim are in their tiny Lon- 
don house. Jim is working and has made himself popu- 
lar with his mates. The local bar has many attractions, 
and Jim forgets the lonely little girl at home in the allure- 
ment of the saloon. But Nellie is a staunch little wife 
and will not acquiesce in Jim's methods, so takes a trip to 
the "Green Dragon" and asks Jim to come home. He 
immedately agrees, but taunted by his chums with being 
tied to his wife's apron strings, Jim persuades Nell to go 
home alone — he will stay for one more glass. Alas ! his. 
weak nature prevails, and hoUrs afterward Jim staggers 
home intoxicated. His befuddled brain misconstrues 
Nellie's loving actions into an attempt at "bossing the 
show." Shall a British workingman be dictated to by a 
woman? No! Off again to the saloon for him. "No, 
Jim; No, dear!" she cries, and guards the door. He, 
great husky laborer, forgetting his brute strength, forget- 
ting all his love, fogetting Nell's weakness, seizes 
her roughly and hurls her from him. Poor Nellie's head 
strikes the stone floor and she lies motionless. Suddenly 
sobered, Jim kneels by the inanimate form, and with 
growing horror, imagines he has killed the girl he has 
sworn to love, honor and cherish. Frantic with terror 
and remose, he rushes out of the house and jumps the 
nearest train to flee from the scene. Wandering around 
the countryside, hunger at last impels him to steal a loaf 
of bread, but summary justice is dealt out, and Jim is 
sentenced to jail. 

Meanwhile Nellie recovers from her severe blow, 
but the continued absence of Jim necessitates the selling 
of the furniture for rent, and she obtains a situation as 
maid in a country mansion. When Jim comes out of 
prison, he meets the kid-gloved crook, who puts a propo- 
sition to him which, in his half-starved condition, he re- 
luctantly accepts. The proposition is to burgle the house 
of Lord Everdale, which they learn will be left practically 
alone one night in the care of an old butler and two maids. 
In the dead of night, Jim effects an entrance and cau- 
tiously proceeds towards the library safe, where Lady 
Everdale's valuable jewelry is kept. But he has been 
heard. Who is this sadly-pretty woman awakened from 
her rest who sits up in bed and listens ? None other than 
Jim's own wife, who has obtained employment at the 
Everdale establishment some weeks after Tim deserted 
her. Hastily throwing a robe around her, Nellie creeps 
down the stairs and into the library, sees the broad back 
of a yeggman busily intent on breaking open a safe. She 
catches up a revolver, and calling to the cracksman de- 
mands his surrender. He turns quickly — and they recog- 
nize one another ! There is little time for explanations, 
but Jim falls at her feet thankful for having been saved 
from staining his hands with crime. A swift embrace and 
he rushes out of the house just as the old butler comes 
along to investigate. Outside of the mansion he tells Fos- 
ter that he is done with him forever, and shows his de- 
termination in no uncertain manner. 

Two days later Nellie is overjoyed to receive a let- 
ter from him in which he confirms his intention to lead 
an honest life in the future, and states that he is on the 
track of a good job. 

We next see Jim passing the door of the fateful sa- 
loon, where his first downward step was taken, and going 
straight home with his pay envelope unopened. This 
bright, cheerful home is a great contrast to the former 
poor habitation, and when Jim reads in the paper that 



76 



MOTOGRAPHY 



Vol. X, No. 2 




Scene from Ones' "The House of Mystery." 



Foster at last has been tracked down and sentenced to 
five years at hard labor, he exclaims in great thankful- 
ness, "But for the grace of God, that would have been 
my fate!" We leave the reunited couple locked in a lov- 
ing embrace. 



the 

and 

offic 

ing 

in 

Ben 

apol 

Sch 

Pa. 



Waiting for "Arizona" 

Inquiries are coming in rapidly regarding "Arizona", 
first product of the All Star Feature Film Company 

at its offices in the Candler Building and at the 
es of Harry R. Raver in the Columbia Theater Build- 
there arc coming numerous buyers seeking to get 
'on the ground floor." Among recent callers were 

I), (rose and I Icnlo Moore, respectively of Indian- 
lis and Chicago, and Carl S. Rothleder and J. A. 
walm of the Imperial Feature Film Co., Pittsburgh, 



Pearl 'White to Tour Europe 

Trail White, the charming and popular star of 

Crystal films, sailed for Europe on board the Olympic 
Saturday, July 5. Miss While will spend about six 
weeks mi the continent, visiting all the principal cities 
and the studios of the foreign film manufacturers and she 
will study the different methods of acting in all the stu- 
dios abroad. Miss White will also appear personally at 
several photoplay theaters in England, France and Italy. 
After touring the continent she will return to America, 
and will resume her work in Crystal films. Miss White 



was given a great send-off by her many friends in New 
York and several feet of him of both Miss White and 
the Olympic leaving her dock were taken and will be 
shown in the next release of the Animated Weekly of the 
Universal program. 



Not Majestic's Johnstone 

The New Majestic offices learn that a rumor has 
gotten about that Lamar Johnstone, one of their leading 
men, has left the company. The story seems to be due 
to the signing by the American Film Manufacturing 
Company of Lorimer Johnson, as director. The simi- 
larity of names made the trouble. The Mr. Johnstone 
of the New Majestic, as aforesaid, is a player and not 
a producer, and the officials of the company look for 
the early death ^i the rumor. 



Such Is Fame 

Charles Scav. Edison director, tells this one on his 
camera man: They stopped off at Washington recently 
and while walking down Pennsylvania Avenue with one 
of Mr. Seay's political acquaintances, they met Champ 
Clark who was introduced simply as "'Mr. Clark." The 
speaker in the course of the conversation referred to sev- 
eral of his big national plans and. after he had departed, 
the camera man, who had not caught the name, said 
"Who is that fellow, anyway? To hear him talk, you 
would think he was somebody." 



July 26, 1913 



MOTOGRAPHY 



77 



Brevities of the Business 




PERSONAL NOTES. 

FROM operator to manager, is briefly the story of the career 
of Mr. A. K. Lambson, present manager of the Spokane 
office- of the General Film Company, located at 120 Wall St., in 
that city. .Born in Geneva, Ohio, sdme thirty years ago, Mr. 
Lambson moved to Washington at an early age so has practically 

been a westerner all his life.- He 
has been connected with the 
amusement business since 1896 
when he was a vaudeville player. 
Following this experience- he be- 
came stage carpenter of several 
first, class. theaters. He began op- 
erating a projection machine 
along about 1899 and was one of 
the first "to turn the crank of .an 
Edison, Polyscope or Motiograph 
projector. In those days pictures 
were only from '50 to 200 feet 
long and there was no such device 
as a takeup, all the film being run 
into a basket beneath the projec- 
tor or onto the floor. For a time 
Mr. Lambson owned a theater at 
Ellensburg, Washington, but sold 
out at a neat profit in 1910 and 
went to St. Maries, Idaho, where 
he again engaged in the theater 
business. Selling this house, he 
went to Seattle as an operator, 
where his work attracted the attention of the General Film Com- 
pany's representative and he was offered a position in that office. 
For nearly a year he was manager of supplies and, later, be- 
came road repair man, during which time he made a most envi- 
able record for selling projecting machines. After some two 
months of road work, during which he traveled over the greater 
part of the state, he returned to Seattle and was immediately 
appointed manager of the Spokane branch, a position which 
he is ably filling. 

Margaret Oswald, of the Universal Company, who in private 
life is Mrs. Henry McRae, was burned by the explosion of a 
hand grenade recently at Universal City during the filming of a 
war photodrama which her husband was directing. The explo- 
sion seared her face and she narrowly escaped being blinded. 
The accident was incidental to the production of a forthcoming 
Filipino war play, in which soldiers blow up a house by means 
of these projectiles. Miss Oswald is well known on the legiti- 
mate stage, having played in many prominent eastern and western 
stock companies. 

Ford Sterling, Keystone comic and leading man, was pain- 
fully burned during the taking of a scene last week at the Los 
Angeles plant. Ford was seated in a taxi, when the machine 
caught fire.. He stuck manfully to his seat until the scene was 
completed, although by that time the flames had penetrated the 
inside of the taxi, and Sterling's hands were considerably burnt. 
Another case where Ford placed his "art" above all else. 

Ed. Coxen, leading man of the second "Flying A" company, 
suffered a painful accident while working in the picture entitled 
"The Poisoned Chop." In a scuffle with the gardner's boy he 
was struck on the mouth and an incisor tooth cut its way through 
his lip. 

Joseph Edward Victor Fairfield Daveran Singleton, the big 
Australian, is one of the parties and Miss Iva Shepard is the 
other to a charming romance that has unfolded through their 
joint work in a series of Universal pictures. The blushing 
Joseph recently announced his forthcoming marriage to Miss 
Shepard and the event is expected to occur in the near future. 
Richard Spencer, scenario editor of the New York Motion 
Picture Corporation, and a well liked gentleman both East and 
West, will be in New York the latter part of July on a brief 
vacation. He is one .of the best informed technical editors of 
the silent drama and has. to his credit many of the feature suc- 
cesses of the past year. 

James Harrison of the "Flying A" players has been on the 
sick list for the past two weeks from ptomaine poisoning con- 
tracted in a restaurant while on a recent visit to Los Angeles. 
St. Clementine, that picturesque and rugged island off the 
Southern California coast, was the objective point of a recent 
trip of Fred Granville, the Universal cameraman. It was the 



first time that a motion-picture camera had ever invaded the 
sacred precincts of the isle, and Granville brought back some 
gorgeous films with him. Granville reports some narrow escapes 
from serious accident while climbing about the precipitous cliffs 
and gorges of the romantic island. 

Mabel Normand has taken a brief respite from her strenuous 
duties at the Keystone studio, and instead of falling out of 
aeroplanes, riding in mile-a-minute automobiles, and plunging 
from dizzy heights into the water, a few of the stunts which 
she performs in the films, Mabel is quietly resting in San 
Francisco on a short vacation. 

Miss Adele Blood, who plays the title role in Henry W. 
Savage's production of "Everywoman," and Miss Marion Dent- 
ler, the "Youth" in the same play, devoted a whole day of the 
last of their three weeks' stay in San Francisco to a visit to the 
Essanay studio at Niles, Cal., as the guests of Director G. M. 
Anderson. 

A baby girl was born to Mr. and Mrs. Russell Edgar Smith 
at Long Beach, N. Y., on July 3. Mr. Smith is well known as a 
scenario writer and was some time ago made associate editor 
of The Cavalier magazine. 

Clifford Bruce has been engaged to play "leads" with the 
Selig Polyscope Company at their studio in Chicago. He comes 
as a well qualified actor with six years' active and almost con- 
tinuous experience on Broadway — "sine qua non" of success in 
stage service. He was five years in the Frohman service in 
principal parts played with William Gillette in his farewell tour, 
and succeeded Kyrl Bellew in "The Thief," playing a leading 
role three years. His last starring tour was in "The Vir- 
ginian." A man of fine appearance and with keen dramatic 
sense, he should be a very desirable addition to the Selig 
company. 

The Directors Film Corporation, producers of Ramo films, 
announces that Mr. Wray B. Physioc has severed his connections 
with that company. 

Howard Davies is a recent addition to the Majestic forces. 
He is at present under the direction of Mr. Lucius Henderson. 
Mr. Davies is a well known and capable picture actor with a long 
experience. He was closely associated with the "Fatty" series 
under Director Milton H. Fahrney of the Universal and was 
with that gentleman for many months. 

Among recent visitors to the Kinemacolor studios were Lady 
Constance Richardson, the titled exponent of Terpsichore, and 
The McLaine of Lochbule. The latter owns the Island of Mull 
as well as castles and acres of Scottish scenery, to which Kine- 
macolor has secured the picture privileges with a view to film- 
ing several historic dramas. It is highly probable that the titled 
visitors will take part in these. 

Miss Alma Russell, the clever and attractive ingenue of the 
Selig Polyscope stock in Chicago, who has been ailing for some 
time past, has fairly recovered again and is back in the old 
position. She skipped the rope two hundred times to demton- 
strate to Producer Eagle that she was as agile as of yore. 

That the day of the store-show is rapidly approaching its 
end is prognosticated by J. Allen of the Canadian Film Ex- 
change of Calgary, who, accompanied by P. Kauffman, general 
manager of the Toronto branch of that company, was in New 
York during the exposition and convention week. Substantiat- 
ing this theory is Mr. Allen's own moving-picture activities. He 
now has in course of construction at Moosejaw, Man., a $75,000 
theater to seat 1,200 people and the Allen theater at Calgary 
costing $100,000, with 1,000 seating capacity. Among the other 
eight theaters, important because of their costliness, are Mr. 
Allen's recently opened theater in Regina, Sask., costing $50,000, 
and the Rex theater in Winnipeg, costing $75,000. 

Albert E. Cawood, photographer of the General Film 
Producing Company, makers of the "Herald Films," left New 
York Saturday, July 5, for the Arctic regions, where he will 
make a series of moving pictures of scenes and events in that 
country. After an extended cross-country tour, Mr. Cawood 
will arrive at Nome and will take charge of the expedition that 
has been "picturing" the Arctic regions for this company for the 
past three months. Mr. Cawood was formerly with the Kalem 
Company and is considered one of the best motion picture 
photographers in the business today. 

Bobby Ross of the Monarch studio, who always has a 
courteous word for everyone and who is a most capable all 
round man, is preoccupied and there are rumors of a beautiful 
blonde having something to do with it. "In spring the young 
man's fancy lightly turns to — " etc. It is not exactly spring, but 



78 



MOTOGRAPHY 



Vol. X, No. 2 



it isn't so far from it after all. Tom Evans is responsible for 
the statement that Bob recently started a check with the words 
"My dearest" — of course, there may be some exaggeration. 
Who knows? 

William H. Hickey, European representative of Kinema- 
color, sailed on Saturday, July 5, on the Olympic for a flying 
trip through France, Germany and Italy. Mr. Hickey greatly 
regretted having to miss the first international moving-picture 
exposition, but details in connection with the new international 
Kinemacolor productions — particularly the filming of the Mater- 
linck dramas, "The Blue Bird" and "Mary Magdalene" — the latter 
with Mme. Materlinck in the title role — demanded his personal 
attention. Mr. Hickey will be back in four weeks, and hereafter 
will divide his year about equally between America and Europe, 
"Kinemacoloring" both continents, as it were. 

Director John Adolfi of the Majestic has been putting on a 
bear picture with a real live bear this week. A very live bear, 
in fact, for it was not as tame as suggested. R. C. McComas, 
who is not exactly a light weight, had to do some running from 
said bear, and as the animal did not seem to take kindly to him, 
he nearly broke some records and probably did break some for 
his weight. 

The Directors Film Corporation, makers of Ramo films, 
announce that Wray Physioc has severed his connection with 
that concern upon request. Announcement is also made that 
those responsible for the splendid Ramo productions of the past 
are Director William S. Davis and his able staff of assistants, and 
that the credit for establishing the name and the market for 
Ramo films is entirely due to C. Lang Cobb, Jr. 

Albert W. Hale, writing from the Westminster Hotel, in 
Los Angeles, California, advises that he has joined the Majestic 
forces in that city. 

One morning the past week the Chicago Tribune published 
the following : Announcement of the marriage in St. Louis of 
Mabel Taliaferro, the actress, and Thomas J. Carrigan, a 'Selig 
actor, served to bring to light another romance in the same 
family, the secret marriage of Edith Taliaferro, a sister, to Earl 
Browne, who has been leading man for each of the Taliaferro 
girls. The marriage of Mabel was a romance of the film world. 
She met Carrigan while she was still the wife of Frederic 
Thompson, the theatrical manager. Miss Taliaferro was en- 
gaged by the Selig Polyscope Company to appear in a pro- 
duction of "Cinderella." The Prince Charming was Mr. Car- 
rigan. About this time the Thompsons had separated and a 
divorce suit was pending. After it was granted Miss Taliaferro 
went into vaudeville with Carrigan as her leading man. The 
marriage of Edith and Browne has been denied repeatedly. 
Yesterday dispatches from New York said the couple admitted 
they were married and had been for some time. Edith appeared 
in "Rebecca of Sunnybrook Farm" and "Polly of the Circus." 
Mabel was starred in several productions by her first husband. 

Gertrude McCoy, the popular Edison player, leaves for Vir- 
ginia next Saturday to enjoy her first vacation since joining 
the Edison forces two and one-half years ago. Miss McCoy 
has written several successful photoplays recently, and when 
it was suggested that she might be retiring to a secluded spot in 
order to continue her writing, she emphatically declared that it 
was her determination to forget utterly that such a thing as a 
moving picture ever existed. 

Harry Eytinge of the Edison Company has been seriously 
ill at his home but is now back in harness and doing his usual 
excellent work. The portly character actor has been doing- 
some very clever work at the Edison studio since his return. 



ROLL OF THE STATES. 

ALABAMA. 

A Birmingham moving picture show has a novel plan to 
aid the "swat the fly" campaign. It offers a free admission to 
every child bringing 50 dead flies to the door. 

ARIZONA. 

The Lamara theater on Washington street, Phoenix, has 
opened up for business. 

ARIZONA. 

Quintin Quigley has taken the management of the Gem 
theater at Miami. 

T. B. Floore, formerly of Pine Bluff, now making his home 
in Seattle, Wash., has purchased one of the most popular and 
costly moving picture theaters in that city and is making a 
success of his new venture. 

Architects Needham & Cline are preparing plans for a one- 
story brick theater building, 50x150 feet, to be constructed on 
Pico street between Figueroa and Georgia streets, Los Angeles, 
for Warren Wilson. The theater auditorium will have a seat- 
ing capacity of about 625 and there will be two stores, one on 
each side of the lobby. 



Norcross Film Company, Los Angeles, capital stock $100,- 
000; subscribed $3. Directors, J. E. Cooksey, I. W. Norcross, 
G. F. Gillelin. 

W. C. Furrey is the owner and builder of a picture theater 
at Los Angeles to cost $12,000. 

Adolph Marks, attorney of Chicago, is in Los Angeles to 
buy a suitable corner for a large building which will include a 
theater. 

ARKANSAS. 

The Lyric theater of Hot Springs was sold by Circuit 
Clerk Sullenberger to Attorney L. E. Sawyer for $3,500. 

CALIFORNIA. 

J. H. Parker, manager of the lease department of the Cali- 
fornia Realty Corporation of Los Angeles, has just completed 
negotiations for the erection of a moving picture theater. Cost, 
$32,000. 

Nick Turner of Chico, Lawrence Gardella of Oroville and 
Manager Howard of the Gardella theater in Oroville, are tak- 
ing up the campaign for the erection of an opera house in Red- 
ding. 

A contract was let to the firm of Brinkmeyer and Glahn 
for the erection of the Whittemore theater at the corner of 
K street and Kern street, Fresno. Cost about $90,000. J. B. 
Whittemore will have the lease of the theater. 

DELAWARE. 

The Empress Theater Company, Wilmington, Del., capital 
stock, $10,000. To conduct a general moving picture theater. 
Incorporators, S. E. Robinson, Clarence J. Jacobs, Harry W. 
Davis, all of Wilmington, Del. 

DISTRICT CF COLUMBIA. 

That the Lyceum theater of Washington may ultimately be 
turned into a motion picture house de luxe and a new and 
larger theater be built farther east, was the statement of C. 
A. Marshall, proprietor of the Lyceum. 

GEORGIA. 

The Orpheum Theater Company, Carl Gregg, president, will 
remodel building at 15 E. Third street, Augusta, for theater at 
a cost of $10,000. 

The Eugenia theater on Pine street, Albany, has opened up 
for business. 

G. W. Schumaker has bought a moving picture show at 
Assumption and will manage same. 

IDAHO. 

The new Kaiser theater of Boise will open at once. 

ILLINOIS. 

This week the owners of the Elite theater of Somonauk 
are moving their fixtures from their present location to the 
Union hall which they have leased for the coming year. A gal- 
vanized iron fire proof booth has been installed in the opera 
house for the picture machine and everything else will be fixed 
up and made to look like a modern moving picture theater and 
opera house. No show will be given this week but the man- 
agers expect to have everything in readiness to show in their 
new location in a week or so. 

INDIANA. 

G. F. and M. J. Barrett have a permit to erect a one-story 
brick moving picture theater at London and Thirtieth streets, 
Indianapolis, to cost $10,000. 

IOWA. 

After being without a moving picture show for several 
months, the West End of Madison will have a new one in a 
few weeks. H. M. Taylor, who formerly conducted the Prin- 
cess theater, is having the building at 2624 Santa Fe avenue 
remodeled for this purpose. The room in which the theater will 
be located is a spacious one and with the extensive improve- 
ments that are being made the residents of the West End will 
have a first class picture show once more. 

IOWA. 

Joseph Kordick and Dick Sheldon have leased the Star 
theater at Greenfield from Mr. Follmann and will conduct it in 
the future. These two men expect to get the best in moving 
pictures and give their personal attention to the theater's manage- 
ment. , 

Ralph Gardner having bought out the share of Chas. W. 
Lathrop in the picture show at Corydon, the firm of Jones & 
Gardner will on each fair Saturday night show pictures at the 
airdome. 

KANS \-v 

C. C. McCollister, owner of the Star theater at 221 East 
Douglas avenue, Wichita, has purchased the fixtures and fur- 
nishings of the Marplc theater at 417 East Douglas avenue from 
Mis. Wicks, owner. The deal was completed Thursday and Mr. 
McCollister took immediate charge of his newly acquired prop- 
erty. The Marplc is one of the biggest moving picture shows 
in Wichita. It will seat about 500 people in the gallery and first 
floor. 



July 26, 1913 



MOTOGRAPHY 



79 



Complete Record of Current Flms 

Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker, 
Motogsaphy has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs 
Films will be listed as long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possibTf 
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be 
obtained of the manufacturers. 



LICENSED 



Date 

7-7 
7-7 
7-8 
7-8 

7-8 

7-9 

7-9 

7-9 

7-9 

7-10 

7-10 

7-10 

7-10 

7-11 

7-11 

7-11 

7-11 

7-11 

7-11 

7-12 

7-12 

7-12 

7-12 

7-12 

7-12 

7-12 

7-14 

7-14 

7-14 

7-14 

7-14 

7-15 

7-15 

7-15 

7-16 

7-16 

7-16 

7-16 

7-1-7 

7-17 

7-17 

7-17 

7-18 

7-18 

7-18 

7-18 

7-18 

7-19 

7-19 

7-19 

7-19 

7-19 

7-19 

7-21 

7-21 

7-21 

7-21 

7-21 

7-21 

7-22 

7-22 

7-22 

7-23 

7-23 

7-23 

7-23 

7-24 

7-24 

7-25 

7-25 

7-25 

7-25 

7-25 

7-26 

7-26 

7-26 

7-26 

7-26 

7-26 

7-26 

7-26 



7-4 
7-5 
7-5 
7-7 
7-7 
7-7 
7-8 
7-8 
7-8 



DRAMA. 

Title Maker 

The Trail of Cards Selig 

The Clove Vitagraph 

The Daughter of the Sheriff Essanay 

The Profits of the Business Lubin 

The Airman's Bride Patheplay 

The Outer Shell Essanay 

The Treachery of a Scar Kalem 

A Hero Among Men Lubin 

The School Ma'am Patheplay 

The Enemy's Baby Biograph 

His Chinese Friend Melies 

Made a Coward Selig 

The Carpenter Vitagraph 

The Statue of Fright Eclipse 

In the Old Dutch Times Edison 

The Sign Essanay 

On Her Wedding Day Lubin 

Budd Doble Comes Back Selig 

A Spirit of the Orient Vitagraph 

The Mistake Biograph 

The Diamond Crown Edison 

Broncho Billy and the Western Girls Essanay 

Rounding Up the Counterfeiters Kalem 

Her Only Boy Lubin 

A Wild Ride Selig 

The Moulding Vitagraph 

A Gambler's Honor Biograph 

The Lost Diamonds Kalem 

The Apache Kind Lubin 

The Only Chance Selig 

The Diamond Mystery Vitagraph 

In the Garden Kalem 

His Better Self Lubin 

The Tree and the Chaff Selig 

The Dream Fairy Edison 

A Thief in the Night Kalem 

The Fight at Grizzly Gulch Kalem 

The Master Painter Vitagraph 

The Heart of a Gambler Essanay 

The Wiles of Cupid Lubin 

The Poisoned Darts Melies 

Put to the Test Selig 

To Abbeville Courthouse Edison 

Every Thief Leaves a Clue Essanay 

The Secret Formula Patheplay 

Granny's Old Arm Chair Selig 

The Yellow Streak Vitagraph 

Doing the Round-Up Biograph 

On the Broad Stairway Edison 

The Smuggler Kalem 

Jim's Reward Lubin 

The Friendless Indian Patheplay 

The Ne'er to Return Road Selig 

A Tardy Recognition Edison 

Tapped Wires Essanay 

A Bolt From the Sky Kalem 

An Actor's Strategy Lubin 

The Short Stop's Double Selig 

The Only Way Vitagraph; 

A Rose of Sharon Essanay 

The Benefactor Lubin 

The Senorita's Repentance Selig 

The Dance at Eagle Pass Essanay 

Home, Sweet Home Lubin 

A False Accusation Patheplay 

The Unseen Defense Selig 

The Mirror Biograph 

An Old Maid's Love Story ' Vitagraph 

Honor Thy Father Cines 

The Meadow Lark Edison 

Baffled, Not Beaten Kalem 

The Exile Lubin 

The Acid Test Selig 

The Coming of Angelo Biograph 

A Proposal From the Duke Edison 

Broncho Billy and the Schoolmam's Sweetheart. . .Essanay 

The Moonshiner's Mistake Kalem 

The Price Demanded Lubin 

The Mad Sculptor Patheplay 

The Spell Vitagraph 

A Prince of Evil Vitagraph 

COMEDY. 

The Wrong Hand Bag Lubin 

A Modern Garrick Patheplay 

Love's Quarantine Vitagraph 

A Sea Dog's Love Biograph 

The Noisy Suitors Biograph 

Winsome Winnie's Way Edison 

Old Doc Yak Selig 

A Jolt for the Janitor Selig 

Count Barber Vitagraph 



Date. 

7-9 
7-9 
7-9 
7-9 
7-10 



Length 

1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 

500 
1,000 
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2,000 
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1,000 
1,000 
2,000 
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1,000 
1,000' 

500 
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2,000 



600 

1,000 

1,000 

500 

500 

500 

500 

500 

1,000 



7-14 
7-14 
7-15 
7-15 
7-15 
7-16 
7-17 
7-17 
7-17 
7-17 
7-17 
7-18 
7-18 
7-18 
7-19 
7-19 
7-21 
7-21 
7-22 
7-23 
7-23 
7-23 
7-24 
7-24 
7-24 
7-25 
7-25 



7-4 

7-11 

7-12 

7-14 

7-14 

7-18 

7-18 

7-22 

7-23 

7-23 

7-23 

7-23 

7-23 



7-2 
7-4 

7-7 
7-8 

7-12 
7-14 
7-18 
7-22 
7-22 
7-22 
7-24 
7-24 
7-24 
7-24 



7-11 
7-14 
7-16 
7-17 
7-17 
7-21 
7-24 
7-25 



Title Maker. I. 

His Mother-in-Law's Visit Edison 

The Reformation of Dad Selig 

A Millinery Bomb Vitagraph 

Solitaires Vitagraph 

A Flurry in Diamonds Essanay 

When Love Loses Out Lubin 

Building a Trust Lubin 

Hannigan's Harem Patheplay 

Entertaining Uncle Kalem 

A Pair of Foils Edison 

The Mermaid Kalem 

O'Hara as a Guardian Angel Vitagraph 

Something Rotten in Havana Essanay 

When Ignorance is Bliss Essanay 

My Lady of Idleness Vitagraph 

Sweeney's Dream Selig 

The Sweat Box Biograph 

A Chinese Puzzle Biograph 

Easy Money Patheplay 

Hubby's Toothache Vitagraph 

Sandy and Shorty Work Together Vitagraph 

What the Doctor Ordered Kalem 

The Hidden Bank Roll Lubin 

When Mary Married Lubin 

The Two Ranchmen Essanay 

The Taming of Betty Vitagraph 

Pa Says Biograph 

While the Count Goes Bathing Biograph 

The Pickpocket Vitagraph 

At Midnight Edison 

The Tenderfoot's Luck Kalem 

An Error in Kidnapping Vitagraph 

The Browns Study Astrology Essanay 

Zeb, Zack and the Zulus Lubin 

Two Artists and One Suit of Clothes Selig 

Making Good Essanay 

The Tables Turned Vitagraph 

EDUCATIONAL. 

The Consecration of a Buddhist Priest Patheplay 

Porcelain Patheplay 

Dynamite, the New Farm Hand Patheplay 

Denizens of the Deep Patheplay 

The Snowy Egret and Its Extermination Patheplay 

The Concrete Industry Kalem 

Jiu Jitsu Patheplay 

A Great Metropolitan Newspaper Edison 

A Knife of Fire Edison 

Building the Chattanooga Light and Power Dam.. Essanay 

Coffee Industry in Jamaica Lubin 

Javanese Dances Melies 

Opportunity and a Million Acres Patheplay 

SCENIC. 

Historic New York Kalem 

Pisa (Italy) and Its Curious Monuments Patheplay 

Over the Great Divide in Colorado Edison 

Scenes of Other Days Edison 

A Little Trip Along the Hudson Patheplay 

Port of Marseilles, France Patheplay 

Beautiful Catalogue Patheplay 

In and Around Scutari After Its Capture Patheplay 

In Weird Crimea Patheplay 

Historic Savannah, Georgia Kalem 

The Island of Tonga Patheplay 

In the Moro Land Selig 

A Trip to the Grottos of Baume Patheplay 

Scenes in Honolulu Vitagraph 

TOPICAL. 

Cosmopolitan New York Kalem 

Pathe's Weekly No. 32 Patheplay 

The Great Raymond Essanay 

A Chinese Funeral Melies 

Pathe's Weekly No. 33 Patheplay 

Pathe's Weekly No. 34 Patheplay 

Pathe's Weekly No. 35 Patheplay 

Vipers at Home Patheplay 



ength. 

1,000 

1,000 

500 

500 

1,000 

4oe 

600 

1,000 
500 

1,000 
500 

1,000 
500 
500 

1,000 

1,000 
500 
50O 

1,000 
500 
50O 
50O 
400 
600 

1,000 

1,000 
50O 
500' 

1,000 
600 
500 

1,000 
500 
500 
500 

1,000 
850 



600 

1,000 

500 

475 
1,000 
500 
450 
960 
400 
500 
400 
1,000 
700 



500 
400 
500 
1,000 
500 
475 
500 
600 
400 
500 
300' 
500 
300 
150 



500 
1,000 
1,000 

500 
1,000 
1,000 
1,000 

700 



DAILY LICENSED RELEASES 

MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita- 
graph. 

TUESDAY: Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig, 
Vitagraph. 

WEDNESDAY: Edison, Essanay, Kalem, Eclipse- Kleine, Pathe, 
Selig, Vitagraph. 

THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig, 
Vitagraph. 

FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita- 
graph. 

SATURDAY: Edison, Essanay, Cines-Kleine, Kalem, Lubin, 
Pathe, Vitagraph. 



80 



MOTOGRAPHY 



Vol. X, No. 2 



INDEPENDENT 



Date 

7-14 
7-14 
7-14 
7 14 
7 IS 
7 15 
7 IS 
7-15 
7-16 
7-16 
7-16 
7-16 
7-17 
7-17 
7-17 
7-17 
7-17 
7-18 
7-18 
7-18 
7-18 
7-18 
7-19 
7-19 
7-19 
7-19 
7-19 
7-20 
7-21 
7-21 
7-21 
7-21 
7-21 
7-22 
7-22 
7-22 
7-22 
7-23 
7-23 
7-23 
7-23 
7-23 
7-24 
7-24 
7-24 
7-24 
7-25 
7-25 
7-25 
7-25 
7-25 
7-26 
7-26 
7-26 
7-26 
7-26 
7-26 
7-27 



7-14 
7-14 
7-14 
7-15 
7-15 
7-16 
7-16 
7-16 
7-17 
7-17 
7-17 
7-18 
7-18 
7-19 
7-19 
7-19 
7-19 
7-19 
7-20 
7-20 
7-20 
7-20 
7-21 
7-21 
7-21 
7-22 
7-23 



DRAMA. 

Title Maker 

The Grit of the Gringo Nestor 

Truth in the Wilderness American 

The Fisherman's Fortune Reliance 

The Organist Dragon 

The Picket Guard Bison 

In Death's Shadow Crystal 

Tannhauser .Thanhouser 

With Honor at Stake Gaumont 

The Operator and the Superintendent Nestor 

For the Man She Loved '.'.' Eclair 

Old Mammy's Secret Code Broncho 

Her Rosary Reliance 

Her Nerve Imp 

The Wrong Road Rex 

To Err Is Human American 

Granny . . . . '. Pilot 

The Tiny Troubadour Gaumont 

The Awakening Powers 

Nihilist Vengeance Victor 

The Red Mask Kay Bee 

The Intruder Solax 

Fate and the Man Lux 

When Sherman Marched to the Sea Bison 

The Half Breed Sheriff Frontier 

The Strange Way Reliance 

At the Half Breed's Mercy American 

The Triumph of Strength Ambrosio 

His Weakness Conquered Rex 

Jealousy's Trail American 

A Hospital Romance Reliance 

The Bride of the Sea Dragon 

The Yogi Imp 

The Princess of the Valley Nestor 

The Lawbreakers Bison 

The Broken Spell Crystal 

When Darkness Came Thanhouser 

Palmistry Gaumont 

Behind the Gun Nestor 

The Greater Call Eclair 

Grand-Dad Broncho 

Maria Roma Reliance 

Man and Woman ....... Ramo 

The Last of the Madisons Imp 

The Fallen Angel Rex 

Tom Blake's Redemption American 

When the Cards Were Shuffled Gaumont 

The Actor Powers 

Marooned Victor 

Flotsam Kay-Bee 

The Top of New York Thanhouser 

As Ye Sow Solax 

The Governor's Daughter Great Northern 

The Toll of the Desert Frontier 

The Higher Justice Reliance 

She Will Never Know American 

The Missionary's Daughter Ambrosio 

A Shot in the Dark Great Northern 

Mental Suicide Rex 

COMEDY. 

A Possibility Imp 

Little Buster Gem 

Love and Rubbish Keystone 

The Japanese Question Majestic 

A Japanese Courtship Majestic 

Why Rags Left Home Powers 

Looking for Trouble Solax 

A God Gone Baron Ramo 

The Small-pox Scare at Gulch Hollow Frontier 

A Noise From the Deep Keystone 

Funnicus at Luna Park Mutual 

The Tale of a Hat Nestor 

When His Courage Failed , Nestor 

Binks Ends the War Imp 

In Cartoonland With Hy Mayer Imp 

His Way of Winning Her Majestic 

Gold Creek Mining Majestic 

A Country Cousin Great Northern 

The Hall Room Girls....- Crystal 

How Men Propose Crystal 

Through the Telescope Eclair 

Brethren of the Sacred Fish Thanhouser 

Tin- Life Savers Gem 

The Peddler Keystone 

1 ,r>v<- and Courage Keystone 

The Adventurous Girls Majestic 

linbby's Magic Nickel Powers 



Length 

1,000 
2,000 
1,000 
1,000 
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2,000 
1,000 
2,000 
3,000 
1,000 
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1,000 
1,000 
2,000 
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1,000 
1,000 
3,000 
1,000 
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1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000- 
1,000 
1,000- 
3,000 
2,000 
1,000 
2,000 
1,000- 
2,000 
1,000 
50O 
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2,000 
1000 
1,000 
2,000- 
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1,000 
1,000 



2,000 

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500 

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1,000- 

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500 

500 

500 

500 

500 

500- 

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500 

500 

500 

1,000 

1,000- 

500 

500 

1,000 

1,000 



Date. 

7-23 
7-24 
7-24 
7-24 
7-24 
7-24 
7-25 
7-25 
7-25 
7-26 
7-26 
7-26 
7-27 
7-27 
7-27 
7-27 
7-27 

7-8 

7-12 

7-13 

7-17 

7-20 



7-24 
7-24 



7-16 
7-16 
7-16 
7-23 
7-23 
7-23 



Title. Maker. 

That Dog Solax 

The Frontier Twins' Heroism Frontier 

Get Rich Quick Keystone 

Does Gontran Snore ? Mutual 

The Sure Tip Pilot 

The Bug Professor Pilot 

Their Luck Day Xestor 

Pat's Fancy Dress Lux 

You Never Can Tell Lux 

Baron Binks' Bride Imp 

Summer Caricatures by Hy Mayer Imp 

The Mighty Hunter Majestic 

College Chums Crystal 

Belmont Stung Crystal 

He Poses For His Portrait Eclair 

The Third Thief Eclair 

Willie, the Wild Man Thanhouser 

EDUCATIONAL. 

The Making of Tapestry Gaumont 

A Garden Party in California American 

The Catholic Mission Eclair 

The Star Fish Mutual 

Sacred Gazelles Eclair 

SCENIC. 

Through Turkey Mutual 

Through Mountains Majestic Gaumont 

TOPICAL. 

Animated Weekly No. 71 L'niversal 

Mutual Weekly No. 29 Mutual 

Gaumont Weekly No. 71 Gaumont 

Animated Weekly No. 72 Universal 

Mutual Weekly ' No. 30 Mutual 

Gaumont Weekly No. 72 Gaumont 



Length. 

1,000 

1,000 

1,000 

500 

500 

500- 

1,000 

500 

50O 

500 

500 

1,000 

500 

500 

500 

500 

1,000 

500 

500 
S00 
500 
500 

500 
500 



1,000 
1,000 
1,000 
1,000 
1,000 
1,000 



KINEMACOLOR 



DRAMA. 

Mission Bells Kinemacolor 

Love and War in Toyland Kinemacolor 

Hiawatha Kinemacolor 

When Love Grows Up Kinemacolor 

COMEDY. 

A Family Affair . , Kinemacolor 

In Search of Bacchus Kinemacolor 

TOPICAL. 

Shriner's Parade and Sports, Los Angeles, Cal., 1912. Kinemacolor 
Life on Board An American Man-o-War Kinemacolor 



2,230 



1,500 



MISCELLANEOUS FEATURES. 



Date. Title. Maker. Length 

6-15 The Fatal Grotto Itala Features 2,000 

James K. Hackett in Prisoner of Zenda Famous Players 4,000 

The Man in the White Cloak Great Northern Special 3,000 

Zingomar III Union Features 3,000 

The Wife of Cain Helen Gardner Features 

Satan Ambrosio Feature 3,000 

When Men Hate (Gene Gautier) Warner's Features 3,000 

In the Claws of the Vulture Ambrosio Feature 3,000 

In the Toils of the Devil ...Monopol 2,500 

In Touch With Death Gaumont 3,000 

Zoe, or A Woman's Last Card Hecla 3,000 

Her Supreme Sacrifice Warner's Features 3,000 

Branded for Life Itala Features 2,000 

Theodora Warner's Features 3,000 

From Out the Depths (Peerless) A. K. Corporation 2,000 

Those Who Live in Glass Houses Monopol 3,000 

Fantomas Under the Shadow of the Guillotine Gaumont 3,000 

The Day of Judgment Union 3,000 



DAILY EXCLUSIVE RELEASES 

(Independent.) 

MONDAY: Dragon. 
TUESDAY: Gaumont. 
WEDNESDAY: Solax, Gaumont. 
THURSDAY: Gaumont. 
FRIDAY: Solax, lux. 
SATURDAY: Great Northern. 



DAILY "MUTUAL" RELEASES 

(Independent.) 
MONDAY: American, Keystone, Ramo. 
TUESDAY: Majestic, Thanhouser. 

WEDNESDAY: Broncho, Mutual Weekly, Reliance, Ramo. 
THURSDAY: American, Mutual, Keystone, Pilot. 
FRIDAY: Kay- Bee, Thanhouser. 
SATURDAY: American, Reliance, Ambrosio. 
SUNDAY! Majestic, Thanhouser. 



DAILY UNIVERSAL RELEASES 

(Independent.) 
MONDAY: Imp, Nestor, Gem. 
TUESDAY: Bison, Crystal. 

WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers. 
I III KSDAY: Imp, Rex, Frontier. 
FRIDAY: Nestor, Powers, Victor. 
SATURDAY: Imp, Bison, Frontier. 
SUNDAY: Crystal, Eclair, Rex. 



ftfoToGMPhjf 




EXPLOITING 





Vol. X 



CHICAGO, AUG. 9, 1913 



No. 3 




DORIS MITCHELL 

ESSANAY 




"TB i i 




Copyright 1913 by George Kleine Copyright 1913 by George Kleine 

A SMASHING KLEINE -ECLIPSE YOU SHOULD HAVE! 

"THE MONG-FU TONG" 

(In Two Reels) For Release Tuesday, August 12, 1913 

It will stir your blood like old wine — like a tale from Poe ! The rapid rush of 

adventure, the absorbing story, the genuinely thrilling situations and the sombre 

touch of color added by the appearance of five Chinese — all combine to make 

"THE MONG-FU TONG" the vast exception in multiple reel subjects. 

YOU WILL LIKE "THE MONG-FU TONG" and so will your audi- 
ence. It's new in thought and execution — away from the hackneyed ! The 
adventures of "Arizona Bill" in cleaning up a nest of thieving Chinese is the 
acme of dramatic possibilities — a Western cowpuncher engaged in a life-and- 

death struggle with a Chinese Tong! The very words 
breathe something new in pictures! Do not allow your- 
self to miss 

"THE MONG-FU TONG" 

And Remember, the Date is TUESDAY, AUGUST 12 

"THE HOUSE OF MYSTERY" 

(In Two Reels) Kleine-Cines, for Release AUGUST 8, 1913 

The mystery of the seven women's hats ! An enchanting story that is finished only 
when the last foot is run ! A two-reel made by the house that made " Quo Vadis ? " 
(I, 3 and 6-sheets with this subject.) 




Copyright 1913 by 
Ceorge Kleine 



George Kleine 

166 No. State Street 



Ch 



icago, 



111. 



August 9, 1913 



MOTOGRAPHY 




VENUS FEATURES 



Chandler Building, New York 



Charles Simone, Manager of Sales 




What's What in Feature Films? 

Harry C. Matthews' Superb Three-Reel Masterpiece 
founded upon and named after the Famous Fairy Tale 

THE SLEEPING BEAUTY 

IS THE CHIEF ANSWER 

A Masterly and Lavish Production beautiful beyond belief, convincingly acted 
by Elsie Albert, Early and Matty and select All-Star Cast. 

Artistic, Attractive and a No. One 

LITHOGRAPHS, HERALDS AND PHOTO DISPLAY 



STATE RIGHTS BUYERS! 
BE A LIVE WIRE! WIRE NOW! 





eooooemmommpmmmTOrofSBoioioio] o 



LUBIN FILMS 

IMPORTANT ANNOUNCEMENT 

COMMENCING AUGUST 14th WE WILL RELEASE ONE MULTIPLE REEL 
EVERY THURSDAY, DISCONTINUING OUR SINGLE REEL RELEASE ON 
THAT DAY. ALL OTHER RELEASE DAYS REMAIN AS AT PRESENT 



Special Two-Reel 



"GOOD FOR EVIL" 



Thursday, August 14th 



A wonderful tale of renunciation. Surt Mason robs his bosom friend of his sweetheart, John Field, broken hearted^ enters a 
mission and becomes a monk. Mason goes to the bad, and stealing a horse, resolves to desert his beautiful wife and child. He is, 
however, chased, and being- wounded', seeks refuge in the mission. John convinces him of his sin and takes him back to his wife 
for forgiveness, and still feeling his desolation, the monk returns to the solitary life of the monastery. 



Special Two-Reel 



»s 



"THE BURNING RIVET 

A municipal scheme, beautifully spoiled, ends in happiness. 



Thursday, August 21st. 



Aug. 4 "THE GOVERNOR" Aug. 8 "HER HUSBAND'S WIFE' Aug. 12 ^INTO THEE LIGHT" 

Aug. 5 "GETTING MARRIED" Aug. 9 "WHEN TONY PAWNED Aug. 15 OVER TH CRIB" 

«„~ = "on«F«i fhr Hn«llF" LOUISA" Aug. 16 DREGS 

Aug. 7 "THE CAMERA'S TESTIMONY" Aug. 11 "THE OUTLAW'S GRATITUDE ' Aug. 16 "SURPRISE FOR FOUR 




Beautiful one, three and six sheet posters of our Photo Plays, in five colors, can be ■obtained from your 
exchange or the A. B. C. Co., Cleveland, Ohir Photos of the Kraus Mfg. Co., 14 East 17th St., New York. 



LUBIN MANUFACTURING CO 



PHILADELPHIA 
USA 



HSxira®^ 




Just say, "I saw it in MOTOGRAPHY." Thank you. 




Scene from American's "The Adventures of Jacques," filmed amid die beautiful backgroun.lv of the Gillespie Estate near Santa Barbara, California. 




WITH WHICH IS INCORPORATED THE NICKELODEON 



CHICAGO, AUGUST 9, 1913 



PUBLISHED BI-WEEKLY BY 

ELECTRICITY MAGAZINE CORPORATION 

MONADNOCK BUILDING, CHICAGO 



Telephones: Harrison 3014 — Automatic 61028 



Ed J. Mock and Paul H. Woodruff Editors 

Neil G. Caward Associate Editor 

Mabel Condon Associate Editor 

Allen L. Haase Advertising Manager 



Entered as second-class matter at the postoffice at Chicago, Illinois, under 
act of March 3, 1879. 



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Single copy 10 



NOTICE TO ADVERTISERS 

Changes of advertising copy should reach the office of publication not 
less than fifteen days in advance of date of issue. Regular date of issue, 
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days of date of issue, but proof of such advertisements can not be shown 
in advance of publication. 



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voice in its management or policy. 



CHICAGO, AUGUST 9, 1913 



TABLE OF CONTENTS 

Scene from American's "The Adventures of Jacques" Frontispiece 

Editorial 81- 82 

The Sunday Show 81 

Ventilation Problems 82 

A Two-Reel Romantic Costume Play : 83- 84 

Thanhouser Prosperity Notes 84 

How It Feels to Fly 85- 86 

On the Outside Looking In. By the Goat Man 87- 89 

That Dietz Picture 90 

A Two-Reel Alkali Ike 91-92 

Why New York Withdrew 92 

Motography's Gallery of Picture Players 93 

"The Green God" 94 

Just a Moment Please 94 

Motion Picture Making and Exhibiting. By John R. Rathbun.... 95- 96 

A Diamond-S Potpourri 97- 98 

Gertrude Coghlan Joins Selig 97 

Edison's "The Robbers" 98 

Sans Grease Paint and Wig 99-100 

Prominent Exhibitors ' 100 

Current Kleine Comment 101-102 

First Edison English Production 102 

Who's Who in the Film Game 103 

New Reliance Studio 104 

Withdrawal Approved 104 

Current Educational Releases 105-106 

Of Interest to the Trade 107-112 

The House of Gaumont 107 

Explosion Seriously Injures Ryno Director 108 

In Defense of Features 108 

Industrial Films Popular 1 09 

Mutual Offices Moved 109 

Eastman to Enter Field 110 

Brevities of the Business . ... 113-116 

Complete Record of Current Films 117-118 



THE SUNDAY SHOW 
C REDERICK Palmer, editor of The Rounder, a theat- 
I rical journal published in Los Angeles, California, 
has a reputation for writing some stirring editorials, and 
in his latest issue discusses the question of Sunday pic- 
ture shows in a vigorous manner. 

On his editorial page Mr. Palmer says : 

Here is a highly interesting bit of news that I 
clipped from a daily paper last week : 

Business men and leading citizens of Pomona, Cal., are 
up in arms against a movement started by a number of the 
ministers of the city to stop the Sunday afternoon band con- 
certs in Ganesha Park. A week ago a picture show kept 
open on Sunday and the ministers appealed to the council 
to have it closed. 

It is difficult to retain one's composure after reading 
such an item. They "appealed to the council to have a 
picture show closed on Sunday." In the name of the 
God that they shout of and sing of and do not under- 
stand and never can comprehend, Why do they want to 
close the picture shows on Sunday? What is their rea- 
son for such action? What harm do they flee from; 
what sin do they imagine? By what line of logic do 
their poor, shrunken brains arrive at a conclusion that 
animates them to start a "movement" to close the pic- 
ture shows on Sunday? 

They stand in their pulpits, these pessimistic pup- 
pets, and tell that God created the world and all that ex- 
ists upon its surface. Is it sinful to look at the hills and 
valleys on Sunday? Is it unforgivable to gaze at your 
neighbor, is it unpardonable to feast your eyes upon the 
wonders of architecture or the beauties of art on Sun- 
day? Is it an evil thing to look about you and consider 
the tragedies of the world and the comedies that counter- 
balance the scales of Life? Returning from a 
suburb last Sunday I sat behind a minister of the gospel. 
He was reading a magazine article relating to the battle 
of Gettysburg. I alighted from the suburban car and 
waited for a city car and while standing upon the street 
corner my eyes beheld a sign advertising a film depicting 
the battle of Gettysburg. Could it be possible that the 
parson that perused the printed page was one of those 
who protested against the Sunday picture show? If 
so what distinction does the good man make between 
appealing to one's love of history by means of a maga- 
zine or by accomplishing exactly the same thing through 
the use of a film? Also these misanthropes would stop 
the band concerts on Sunday afternoons. But why stop 
at the music of a band? Why not enact legislation to 
prevent church bells from ringing? Why not adopt some 
means to keep the birds from singing? Why not banish 
church choirs that insist upon singing on Sunday? Let 
the good work go on. Mothers must not be allowed to 
croon lullabys to their babies, bees must cease their hum- 
ming. For if music on Sunday is wicked, all music on 
Sunday is wicked. 

Of all the innocent amusements that I can imagine 
the picture show is the most harmless. It is a modern- 
ized picture book. When I was in short trousers I used 
to come home from Sunday school — I served about a 



82 



MOTOGRAPHY 



Vol. X, No. 3 



decade in that institution — and sit down with a book. 
Sometimes it was history, sometimes fiction. Frequent- 
ly it was illustrated. There were no picture shows then. 
But today the youth may sit in a cool and comfortable 
little theater (perhaps it is the word "theater" that 
frightens the enemies of the Sunday picture show) and 
see history or fiction upon a screen instead of reading 
it from a book. If you can discover the difference you 
possess the ability to remove the contents of a gnat's ap- 
pendix without increasing its pulse or raising its tempera- 
ture. 

When the first locomotive crossed the continent the 
Indians, in their ignorance, fled in fear and trembling 
They were not afraid of the ox team and the pack mules 
but the "iron horse" frightened them inexpressibly. So 
it seems to be with the ignorant who are with us now — 
they cannot grasp the fact that the picture machine is 
not a tool of the devil but that it is merely an improve- 
ment upon the picture book of their childhood. "They 
know not, neither will they understand; they walk on 
in darkness." 



VENTILATION PROBLEMS. 

PROBABLY no question so much interests exhibitors 
of Chicago and vicinity, right now, as does the 
matter of proper theater ventilation. Every live, 
hustling, up-to-date theater manager wishes to make his 
house as attractive as possible in every way, for it is 
only by making his house the most attractive in the neigh- 
borhood that the exhibitor can hold his patronage in these 
days of keen competition. And the matter of ventilation 
is one which, during the summer time at least, cuts a 
big factor in determining the success or failure of a 
theater, for it is a well established fact that the crowds 
will not continue to attend a place of amusement that is 
poorly ventilated. 

Recently, however, this matter of ventilation has 
been brought to the attention of even the most backward 
of the motion picture exhibitors, for, where the pro- 
prietor himself has not been eager to properly ventilate 
his house, the city authorities have taken a hand in 
affairs and declared that every theater in Chicago must 
be ventilated in a manner satisfactory to the health 
authorities or be closed. 

Now a great many of the systems of ventilation, 
approved by the city health officials and which exhibitors 
will be compelled to install, in case the ordinance of 1910 
is vigorously enforced, run up into big money — more 
money, in fact, than a few of the exhibitors can pay, in 
view of the fact that their leases have but a few months 
longer to run. Should some of these men go to the ex- 
pense of installing a ventilating system, costing one thou- 
sand dollars or more, they would be apt to find them- 
selves without protection against unprincipled lessors 
who might refuse to continue their leases except at ex- 
ti 'i 1 1' mate terms. 

To still further complicate mailers, the exhibitors 
find themselves mixed up in a three-cornered fight be- 
tween the building, the health and the fire prevention 
departments of the city; the building and health depart- 
ments being lined up together on one side and opposed 
by the lire prevention bureau on the other. One party 
to the controversy orders the helpless and bewildered 
exhibitor to make certain changes in bis place of amuse- 
ment, threatening him with being compelled to close his 
theater in case he refuses to make the changes recom- 
mended, when along comes the representative of the other 
sick of the controversy and tells the exhibitor that the 
recent changes he has made are all wrong and cannot be 



approved by the city. An order is then issued to make 
still other changes, some of them almost resulting in 
leaving the house as it was in the first place, and again 
a threat is made that the picture theater will be closed 
at once unless the new recommendations are immediately 
complied with. 

Naturally, as a result of the contradictory orders he 
has been receiving and the constant interruptions to his 
business, caused by the making of the numerous changes 
suggested by the city's various representatives, the 
puzzled exhibitor finds himself considerably up in the 
air, even after he has done everything possible to satisfy 
all departments of the city government and to insure the 
comfort and safety of his patrons. 

The Illinois Branch of the International Motion Pic- 
ture Association, with its customary enterprise and spirit 
of fair play for everybody, has taken up the battle of 
the exhibitors and is going to endeavor to straighten 
things out. To that end, a committee has been appointed 
to confer with the proper city officials, and see if the 
matter of ventilation cannot be placed entirely with 
some one branch or department of the municipality, so 
that in the future when orders are given and changes 
made in a theater, to comply with the orders as given, 
the exhibitor may feel reasonably sure that he had been 
advised wisely and well, and that no further interrup- 
tions to his business will result. 

This committee was expected to report back to the 
Association at a special meeting called for Tuesday after- 
noon, July 29, but as this issue of Motography goes to 
press the meeting is still in session and no report can be 
given of the result of the committees's activity. 



THE MAN WHO LIKED MOVING PICTURES. 

There was once a sordid, commonplace man whose 
wife went in heavily for art, whereas the only kind of 
pictures he cared anything about were those of the mov- 
ing variety. In an effort to cultivate his esthetic tastes, 
she took him abroad and dragged him through the great 
art galleries, where he embarrassed her by evincing a 
desire to pause before pictures such as "The Temptation 
of Aunt Sainthony," at which she wouldn't look except 
when there wasn't anybody around. 

Being of an emotional nature, and fond of a good 
cry, the wife used to stop and weep before all the sad 
pictures — of which there were only a few, being in this 
respect different from many of our American exhibi- 
tions, in which the pictures are nearly all sad. At this, 
her husband, who was entirely destitute of temperament, 
scoffed rudely. 

"Oh, pickles!" he said unsuavely. "The noise you 
are emitting sounds like the soul of a lost whale. Do you 
really enjoy bellowing thus before the picture of a poor 
widow who was compelled to eat her children to keep 
from starving to death? As for me. I prefer the other 
kind of moving pictures." 

So saying, he wandered off and asked the liveried 
attendant to point out to him Leonardo da Vinci's "Mona 
Lisa," of which he had often heard; but the guard told 
him that it too had become a moving picture. This, how- 
ever, served onlj to confirm the husband's good opinion 
of his own good opinion in all matters pertaining to art. 

And the husband is still sordid and commonplace, 
and he still likes moving pictures. — Lippincotts. 



The Evans branch of the Mothers' Congress of 
Denver is collecting money to purchase and install a 
moving-picture machine for the instruction and enter- 
tainment of the children in the Evans school. 



August 9, 1913 



MOTOGRAPHY 



83 



A Two-Reel Romantic Costume Play 

"Adventures of Jacques" Laid In 14th Century 



A DECIDED departure from the ordinary type of 
"Flying A" releases has been made by the Ameri- 
can Film Manufacturing Company in the two 
reel feature "The Adventures of Jacques," which is to 
be issued on August 11. 

This latest production of Director Lorimer John- 
ston's is a French costume play, laid in France about 
the year 1580, and in some parts reminds one of the ex- 
ploits of D'Artagnan, the famous hero of Dumas' "The 
Three Guardsmen." Warren Kerrigan appears in the 
role of a French swashbuckler, named "Jacques Le 
Grande," and in his doublet and hose, large plumed hat 
and dangling sword makes an ideal gallant of the time 
of Louis XIV or thereabouts. 

Fortune certainly smiled upon the American Com- 
pany when permission was obtained to film this produc- 
tion amid the strikingly beautiful and spectacularly lav- 
ish backgrounds of the Gillespie' Estate, located near 
Santa Barbara, California, for seldom, if ever, have more 
splendid backgrounds been seen in pictures. The direc- 
tor has taken advantage of the splendid opportunities of- 
fered for his camera and all the principal scenes of the 
production are made amid the gardens, beside the marble 
walls, or at the side of the cool and inviting pools which 
dot the famous estate of Mr. Gillespie. It is doubtful 
whether, if the picture could have actually been taken 
in the grounds of some old French castle or chateau, bet- 



ter or more realistic results could have been obtained. 

The picture does not depend upon beautiful sur- 
roundings alone for its charm, for in addition to this 
feature a stirring story of heroism and danger runs mer- 
rily along to a happy climax, and such stirring incidents 
as a descent by a dangling rope from a high tower, and 
some pretty sword-play between a group of principals 
enlivens the drama. 

According to the story Jacques, a young nobleman, 
hails from Gascony. The family fortune has long since 
been depleted and Jacques is sent forth with only his 
"trusty steed" and his father's blessing, with the admon- 
ition "Be ready always to lay down your life for the 
king." Before he has journeyed far he encounters ad- 
venture. 

Approaching an Inn he meets a number of cavaliers 
to whom the young man's sober mien and gallant bearing 
appear rather ludicrous. Upon his stern demand as to 
whether they might be laughing at him or his horse they 
sarcastically inform him that it is his horse, of course, 
that has provoked them to laughter. Unabashed, he as- 
serts his horse to be his friend and an apology must be 
made for the insult offered. This, to these haughty dig- 
nitaries, is more amusing than ever. A duel is fought 
and Jacques conquers his adversaries so the apology is 
forthcoming. 

At the palace another drama is being enacted, but lit— 




Scene from American's "The Adventures of Jacques." 



84 



MOTOGRAPHY 



Vol. X, No. 3 



tie did Jacques know what an important part he would 
be called upon to play at the Imperial court. 

The queen leaves the palace for a walk, accom- 
panied by a retinue of nobles, courtiers and others, with 
Constance, a lady in waiting, bringing up the rear. Now 
the king had a failing for Constance and though his at- 
tentions were not reciprocated she dared not resist him. 
The charms of the fair Constance so smite the king that 
he has her brought before him, when he rapturously em- 
braces and kisses her. This act of indiscretion is ob- 
served by the queen, whose jealousy is kindled to a 
furious blaze, and the unfortunate Constance is ordered 
confined in a watch-tower. 

The execution of this order is left to the Duke de 
Monserrat and a nobleman, and we leave them as they 
ride with the imprisoned Constance to their destination. 

Jacques in the meantime has not been inactive. Aft- 
er the encounter at the entrance to the "Au Lion D'Or" 
Inn he retires to the room assigned to him by the host 
and from the window, overhead, hears his vanquished 
foes plotting against him. Drawing the curtains of his 
bed aside he places a long bench in the bed and covers it 
up with the bed clothes, giving the appearance of his hav- 
ing retired. Again drawing the curtains around the bed 
he extinguishes the light and secrets himself to await 
further developments. His vigil is soon rewarded by 
the stealthy approach of his now bitter foes, who care- 
fully draw the curtains of the bed and, taking careful 
aim, fire a pistol at what they presume to be the figure 
of their conqueror. Quick as a flash Jacques appears 
from his hiding place and with a few well directed 
thrusts of his rapier pierces the nonplussed antagonists. 
His further stay at the Inn is without other serious inci- 
dent and after breakfasting the next morning he is off 
on his way. 

Riding along, toward evening he meets the duke 
and nobleman with Constance, whom he follows at a 
distance. At the watch tower he insists upon rescuing 
the imprisoned maiden, meets opposition, fights a duel 
and is successful in entering the structure, but is now 
repaid by himself being imprisoned with Constance. A 
thrilling escape is accomplished by means of a rope, 
from the top of the tower. The duke, not to be out- 



selves and make good their escape. Constance is now 
taken to a convent where the mother superior promises 
to guard over her welfare. 

In the meantime the king, learning of the absence of 
Constance, upbraids the queen and has her confined in 




Scene from American's "The Adventures of Jacques." 

witted, secures the assistance of his robber-band and 
both Jacques and Constance arc again captured and tak- 
en to the rendezvous of the robbers to await the pleasure 
of the duke. The two prisoners manage to free them- 







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Scene from American's "The Adventures of Jacques." 

the dungeons. His efforts to secure possession of the 
object of his adoration so infuriates him that he heaps 
maledictions upon the church. His conduct causes in- 
dignation among the noblemen and a plot is formed to 
assassinate him. The news is carried to the queen in the 
dungeons, where the duke, through bribery, has been al- 
lowed to meet the queen. Jacques, learning of the plot, 
apprises the king and promptly offers to aid him. As a 
ruse the two exchange costumes and prepare for flight, 
which, against the overwhelming numbers, is the only 
sane course. They finally take refuge at the convent 
where his majesty's offense is condoned and king and 
queen become reconciled. For his bravery Jacques is 
knighted by the king and left free to win the fair Con- 
stance. 



S. S. Hutchinson and Family in California 

President and Mrs. S. S. Hutchinson of the Ameri- 
can Co., and their two sons, Winston and Hobard, have 
arrived in Santa Barbara by motor from Los Angeles 
and will remain there until September. They are at the 
Arlington. Mr. Hutchinson will devote much of his at- 
tention immediately to the production of special fea- 
tures. Mr. Hutchinson and the boys were given their 
first view of the new studio by moonlight. x\s time per- 
mits the entire family will indulge in more or less tour- 
ing and a trip to San Francisco with stops at important 
points is in prospect. 

Thanhouser Prosperity Notes 

C. J. Hilc, head of the Thanhouser institution, has 
bought a yacht and joined the New Rochelle Yacht Club 
— which is going some. It is said he will call the boat 
"The Dividend." Lloyd T.oncrgan has been appointed 
chief mate and Bert Adler steward. Bert caused a rum- 
pus the other day by going ashore in the tender for 
bread and coming back with matzoths. 

William Russell is now one of the Thanhouser auto 
owners. "Bill" is the large leading man who has been 
doing the "heroics" in the New Rochelle films from time 
immemorial. Leaps for life are his specialty. It is 
rumored that this is why he bought the automobile. 



August 9, 1913 



MOTOGRAPHY 



85 



How It Feels To Fly 

Motography's Associate Editor Becomes a Bird-Woman 



I WROTE a letter home, put my expense account in 
order, placed both under my desk-lamp — with corners 
protruding — and then sat down to read a magazine 
and wait for two o'clock and Jack Robinson Hall to 
arrive. 

And in the midst of a thrilling street fight, with 
scabs and strikers alike dying on picket fences and 
mussing up people's front yards, the telephone tinkled — 
"Mr. Hall calling," announced the operator — and I laid 
aside the fight incident to go forth in quest of whatever 
thrills there were to be experienced by way of a flight 
in a Moisant monoplane. 

"We'll try to make it interesting for you," Mr. Hall 
had promised. "I'm sure you will," I replied. It was 
after that that I wrote my letter home and made out a 
legible expense account, and it was with the feeling that I 
had done all things well that I descended to the lobby to 
greet Mr. Hall and C. D. Peloggio, general manager of 
the Moisant Company. 

"You're to make the ascent with M. C. Wood," Mr. 
Hall told me, as Mr. Moisant's car took us up Broadway 
and toward the bridge that gives a good view of Black- 
well's Island and then lets you off onto Long Island. 

"He and Mr. Kantner are Moisant's best aviators," 
he continued, "so you're pretty safe in going up with 
Wood." I hoped so, and asked what kind of a machine 
it was in which Mr. Hall and Gwendolyn Pates had done 
flying pictures for Pathe, and he said it was a biplane; 
that he had flown a Curtis for years but was new at 
monoplanes. I told myself that I was glad I was to fly 
with Mr. Wood. 

When twelve miles had been left behind us, we ar- 
rived at the Moisant factory, viewed a machine in the 
course of making and then started on the remainder of 
the forty-mile trip, past the Russell Sage model city, 
the vegetable farms that make Long Island famous be- 
cause they feed New York; past pretty little villages 
with pretty little names, past the Belmont race-track 
with its flutter of flags and excitement, through Minneola, 
and there on the outskirts came to the Moisant hangars. 

We toot-tooted an entrance and stopped in front 
of the Moisant club, an open-air living room with wicker 
rockers and tables and lounges and grass rugs and news- 
papers and magazines and a number of people enjoying 
the comforts of all of these. Here chocolate layer-cake, 
graced with chopped nuts, and slender glasses of ginger 
ale, clinking with ice, could be had upon request ; and 
the request-parties were several. 

From in front of the club, the aviation field spread 
its five hundred acres generously in two directions and 
from its green distances, staffs with fluttering and vari- 
colored silk flags told the chief pilot whether or not 
weather conditions were good for flying. To the right a 
wire fence divided the property of the aviation people 
from that of the American Auto-Polo society, and around 
and across their field the little skeleton autos careened 
madly. 

Chief Pilot Jarwan met us and with him we visited 
the hangars with their white-winged planes, and Mr. 
Jarwan explained for my benefit that the wings support 
the machine, that the stabilizers balance it in the air, 
that the propeller controls its velocity, that the engine 
floats in castor oil and the blue line of haze that follows 
the machine is this oil as the engine whirls through it. 



"Surely, this is an ideal day for a flight," I said as 
we came out in front of the hangar and Mr. Jarwan 
fixed a questioning gaze on the little red and green flags 
nearest us. "A little puffy," he said, though what they 
signalled to me was "A beautiful day." 

We walked back to the club and met Mr. Wood 
and Mr. Kantner, refreshed after a glass of ginger ale, 
and while Mr. Wood disappeared to get into his airman's 
suit, six men ran the air-bird out onto the field. In- 
stantly the club emptied of its contents, the polo-autos 
found their way in at the big gate and other spectators 
seemed to come from every little hangar and shed on 
the premises. 

Miss Sims, a young woman student at the Moisant 
school, offered me the use of her long, heavy coat, her 
tight little cap and goggles and by the time I had donned 
these, Mr. Wood appeared, clad in a one-piece cover-all 
khaki suit, a leather helmet and goggles. After fussing 
around the engine for a while, with an oily collection of 
cloths, he said "All right." 

That was the signal for eight or more men to run 
to the back of the car where they stood ready to seize 
upon it. It was also the signal for me to stand upon a 
chair and from that height to climb into the seat that 
was not in front of the steering wheel. As Mr. Jarwan 
and Mr. Hall fastened straps and things in my vicinity 
one of the auto-polo men whom I had met insisted on 
saying good-bye to the accompaniment of a mournful 
hand-shake and somebody else suggested that I leave a 
forwarding address. Mr. Wood slid down into the 
driver's seat and adjusted a long leg on either side of 
the steering wheel. 

He looked at me and said "Afraid?" "Not a bit," I 
answered. "Just sit straight and hold tight," he directed, 
pulling on his gaunlets. "I will," I promised. 

"All ready?" one of the men asked. "All ready," 
replied Mr. Wood; then to me, "Keep your mouth shut." 
I gasped. 

The man seized the huge propeller, swung it around 
once or twice and then something inspired the engine to 
purr, the propellor to keep on propelling, and we faced a 
mighty wind that, caused me to realize the wisdom of 
Mr. Wood's last instruction. 

"Let 'er go!" Mr. Wood yelled. 

The eight or more men who had seized upon the end 
of the machine, released their hold, there was the rush 
of something monstrous past people whose faces were 
indistinguishable, so quickly we went and so straight; 
then there was a softening of the whir, a lightness of 
feeling I had not experienced before and the engine 
settled down to a steady buzz-z-z-z-z. 

And daring to look over the side of the machine I 
saw the green of the big field and the little flags and the 
people and buildings, dropping away from us as though 
in an awful hurry to get as far away as possible ; and 
then I realized it was us who were speeding from them. 

"We're up," I announced to Mr. Wood, and my 
voice sounded so strange to me that I repeated the mes- 
sage, but this time with myself as an audience, for I 
realized that Mr. Wood couldn't hear a word I said. 
"Three hundred feet," I read from the barograph, or 
whatever the instrument is called. We made a turn 
and shot far out from the field and soon were over a 
group of moving things and wavering little dots that I 



86 



MOTOGRAPHY 



Vol. X, No. 3 




Miss Bernette Miller, one of the graduates of the Moisant School. The dog with Miss Miller in the aeroplane is the only flying dog in the world. 



guessed were flags and there was a circle of manikins in 
motion — and then I knew we were over the Belmont 
race track and that a race was in progress. 

We were soon out of sight of the track and were 
gradually mounting higher. The little instrument near 
the steering wheel registered seven hundred and the 
next time I looked its needle approached one thousand, 
stopped there but a few seconds, and pushed on toward 
the two thousand mark. 

The air was colder and had a different feel than 
any air I had ever experienced and I remembered stories 
I had heard of mountain-climbers, and wondered if my 
nose would bleed. Then I looked down at the blur 
below us that we call the world and saw coming straight 
toward us an object that I knew must be another mono- 
plane. Mr. Wood seemed to see it at the same time, but 
he kept going higher, circling, meanwhile, back toward 
what I knew must be the aviation field, and in a few 
minutes I sighted another air-bird, very tiny, though, 
for it hadn't mounted very high as yet. 

When we reached the two thousand mark on the 
little indicator we stayed at that height and the first air- 
man came near enough for us to see that the machine ' 
was Kantner's "Bluebird," and I judged that Kantner 
must be driving it. A third monoplane kept gaining on 
us, and though I couldn't distinguish the driver, I 
guessed that he was Mr. Hall ; and I guessed right. 

Then the indicator began to travel again and I felt 
my ears getting tight and knew my nose would surely 
bleed. I tightened my hold on the iron handle of the 
seat and waited for something even more thrilling than 
the motion of the machine and the sensation of height. 
I wondered if I were afraid ; I looked down at a few 
inconsequential dots and decided I wasn't. The indicator 
pointed to three thousand feet and I guessed that the 
"Bluebird," circling t© our right, must be about twenty- 
five hundred and Mr. Hall, lower and to the other side 
of us, at about two thousand. 

The top button of my coat —or Miss Sim's coat — 
Slipped out of the button-hole and there seemed to be a 
hundred pound weight on my chest. I realized it was 



the wind suddenly let into my coat, and I put my hand 
up, drew the button and button-hole together and the 
weight vanished. 

Then Mr. Wood glanced around at me ; my nose 
had refused to bleed and I looked back at him as though 
to say "I'm all right." I looked at the indicator; it said 
three thousand five hundred — and then the thing I had 
sensed coming happened — with a dip we went straight 
down. 

I remember bracing myself against something at the 
foot of the machine, feeling that I was standing straight 
up instead of sitting down and my breath seemed to leave 
me without even a gasp. 

Then suddenly I was again sitting down ; we were 
sailing off in a straight line and Mr. Wood half turned 
around and smiled. What had happened was a two hun- 
dred foot drop, carefully planned and executed, as Mr. 
Wood informed me later. 

After the drop we circled lower and soon were again 
over the field. The "Bluebird" and Mr. Hall were about 
level with us but about a mile distant. The indistinct 
clots began to take form and with a final circle and defiant 
swoop we glided from the air to the earth and came to a 
stop in front of the club house, our starting place. 

Though I had not felt dizzy in the air, I did as 
soon as we came to a stop, and felt about five miles 
away from myself as Mr. Jarwan helped me out. My 
grave-digger acquaintance of the auto-polo murmured a 
"Welcome to earth" greeting and Miss Sims helped me 
off with her things and Mr. Wood, who had again 
possessed himself of his handful of oily cloths, came over 
to ask, "Well, how was that for your first fly?" I told 
him "Great." and remembered to ask how long we had 
been up and what distance we had covered. He sur- 
prised me when he replied, "Fifteen minutes, and twenty 
miles." It hadn't seemed more than five. 

I was invited to join the ginger-ale and chocolate- 
cake brigade and after that we speeded back to New 
York, where 1 destroyed my home letter and put my ex- 
pense account away for future reference; also for future 
additions. 



August 9, 1913 



MOTOGRAPHY 



87 



On the Outside Looking In 

By the Goat Man 



AND now that it is really and truly all over ; all but 
the memory ; why was the convention ? Will the 
exhibitors of this country go right along paying 
per capita dues and their own expenses just to travel 
to a certain point once a year for the joy of being to- 
gether? Up until the last day's session of the M. P. E. 
L. of A., the meetings were behind closed doors. No 
one can tell why, for there were no secrets. The par- 
titions weren't high enough and there was too much 
noise. The real business of the convention, aside from 
electing officers, took the form of a resolution adopting 
three reels as enough for' five cents. There were no 
penalties for violation of the rule. 
* * * 

This is the only organization of record that has no 
motive beyond the entertainment feature. Would it be 
misappropriate to have papers on various helpful sub- 
jects? Even should this suggestion be an encroachment 
on the time deemed necessary for political entrenchment, 
the papers might be passed upon by a committee ; sub- 
mitted in printed form and distributed by the official high 
cockalorum. I have been an attendant at all the ex- 
hibitors' conventions, but I do not get the drift. I can 
see why there should be a strong association of ex- 
hibitors ; a central point where their troubles might 
clear; where helpful advice might be had for the asking; 
but I fear that too little return has been made for the 
cost of belonging. I know that every organization must 
have its formative days, but there should be a little come- 
back for the admission price. At New York, I was told 
that I could get anything that the press was entitled to 
if I would hunt up the king-pin of publicity. It was the 
first time I ever knew convention stuff stood for a censor. 
After going over the last issue of this de luxe representa- 
tive of the film industry, I was tempted to wire the 



king-pin and ask him if the book stood up without his 
help. Last year it was like that and the year before. 
Next year let there be something to go to conventions 
for. The exposition that New York offered was no 
part of the convention itself. I never knew this till I 
got Trigger to explain it. Speaking of Trigger, I guess 
that was why we went to New York. Sam came on 
here a year ago and told us to come to his town and we 
shouldn't be sorry. We aren't sorry we went to New 
York, but I would like to see the exhibitors get down 
to a systematic handling of their own affairs. A con- 
vention should be more and mean more to the delegates 
than it has heretofore. 

Pop Daniels is sick because he didn't go down to 
New York to celebrate the Fourth of July. Will Frank 
Dyer please make a note of this? Pop says his mill is 
running full capacity since he stopped advertising. 
^ ^ ^ 

I have been around quite some little bit, but I'll 

take off my lid to the entertainment feature of Prexy 

Neff's third annual convention. I am referring now to 

the Friday afternoon session; to those soul-stirring 

events which led to the bolt of certain delegates. I have 

sat through conventions, political and otherwise, up to 

the moment of the explosion, but I was never up against 

the real thing before. Prexy Neff knows exactly how to 

run his show and he runs it his way. All the equipment 

he needs, he has. One good strong table; one good 

strong gavel and one little book of Prexy Neff rules and 

there you are. When Gabriel blows the horn, I'm hoping 

Prexy Neff will not be in executive session. His show 

will be too noisy for final blasts to enter in. 
* * * 

I have had just one letter from Prexy since he got 




The Lubin Studio at Los Angeles, California, as it appears from the street. 



88 



MOTOGRAPHY 



Vol. X, No. 3 



his new letter heads. He says: "I have simply been 
buried under an avalanche of congratulations and en- 
dorsement of the action taken by the M. P. E. L. of A. 
in suspending those delegates who, without cause, left 
the convention." And when you bury Prexy Neff, be- 
lieve me that's some regular funeral ! From now on, 
however, I'm for Prexy Neff and his show. He's a 
scream. I will see him when he comes around again, 
for he's a triple-plated feature on the twenty-four sheet 
stands. * * * 

Fred Beecroft, charter member of the "Sticking 
Six," says he learned a lesson by watching me a few 
weeks ago. I wonder should I have bought Freddie a 
drink? Second thought says no. Freddie drinks water, 
and according to Jim Hoff water will rust your pipes. 

If Samuels had been as big as Tichenor there'd have 
been a fight every hour. As it turned out, Samuels 
simply talked himself out of voice. 

Hfi 3fC % 

When I got back to my desk I found a stick pin in 
Billiken's throne. The pin says : "I got your goat." I 

think Cutey sent that one in. 

* * * 

Subscriber fans all over the country never let any- 
thing get by that has something on the subject of goats. 
The prize clipping in this respect quotes Dr. W. Sheldon 
Bull of Buffalo. This isn't straight bull stuff, it's Dr. 
Bull's — no kidding. Here is what Old Doc. Bull has to 
offer on the hircinous subject : 

People are too ignorant of the good qualities of the goat. 
The funny papers have pictured the poor goat as an incorrigible 
animal ; the dread of all his neighbors ; a kind of backyard 
vandal. As a matter of fact, goats are kind, domestic creatures, 
easy to keep and they yield a good return for the trouble and 
expense which they require. Anybody can keep a goat. While 
it is true that the ideal locality for goats is one that is high and 
rocky and overgrown with weeds, briars, brush and small trees, 
it is a fact that such a location is not essential. 

* * * 

I played the goat up strong, two weeks ago, when I 



r1 


I v \ 




1L 







Scene from Gaumont's "A Hair Raising Affair." 

let 'em kill my stuff to make room for the convention 

reports. Oh, I'm game as a goat. 

* * * 

Everybody is cribbing my dope. In my lists of 
motion picture theaters I have some keyed addresses. I 
get the circulars. When somebody buys my list and sub- 



lets it, I am on in a minute. Billyboy is guilty. It is 
trying to get my subscription at half rates. It told me 
that it would have seven men at the third convention — all 
trained experts. It would also give away five thousand 
copies of the paper to exhibitors. I asked Frank Tiche- 




Scene from Lubin's "When Tony Pawned Louisa." Release of Aug. 9. 



nor to do me a favor. 



I asked him to get me a Billboard. 



He said my wish was his pleasure. 
He came back in an 
hour and said : "It can't be did." That was because 
there wasn't any in Grand Central Palace. It was Thurs- 
day — the fourth day. The Billboard is a phonetic speller 
and is also a liar. I am referring to the statements 
signed by J. C. Kellogg in his circular letter of July 18 — 
those snappy little lying paragraphs down in the lower 
left hand corner of the sheet. Not even decent lying 
at that. But gee, "I ain't mad at anybody!" 

* * * 

In order that the records may be complete, here is 
the full ex-membership of an organization which was 
never completed : Stanly H. Twist ; George A. Hutchin- 
son ; Richard R. Nehls ; Carl Ray ; John B. Rock ; E. B. 
Lockwood; Albert K. Greenland; Allen L. Haase; Lind- 
sey A. Lockwood ; Ed J. Mock. It may be recalled that 
an attempt was made nearly a year ago to form a Screen 
Club in Chicago. As the foregoing names were written 
the application blanks found the waste paper basket. 
The next fellow who starts something like that will be 
held responsible for damages incurred. But even so, 
Chicago might have a Screen Lunch Club — no dues — just 
a fixed time and place to meet, say fortnightly, and 
every guy to pay his own check. Who will tackle the 
job and get it under way for the home-coming of vaca- 
tion bugs ? * * * 

Well, any way, we don't throw in a half gallon of 
disinfectant when you subscribe for Motography. I'll 
bet that Bradlet suggested that premium. 

* * * 

When it comes right down to that boil on your 
neck, what one of the convention dailies are you actually 
going to keep ? It was made out west somewhere, maybe. 

* * * 

Whistling Saunders said it twice, doggone him, said 
he was the only representative of the press who went up 
to West Point with the bunch. Where's your chivalry? 
The next time I'll charge you by the minute for holding 
Mabel's hand! 



August 9, 1913 



MOTOGRAPHY 



89 




'The Ten Thousand Dollar Toe," Selig Release of Aug. 21. 



Among the industries, infantile or otherwise, none 
show more vigor for this hot weather season than film- 
dom. The great activity of film men doesn't lapse into 
a summer loaf. There is something doing every minute. 
There is need, however, for a great concerted effort 
among exhibitors to provide a means for continuous ex- 
hibitions through July and August. Fully twenty-five 
per cent of city m. p. theaters close up on the pretext 
that no money can be made in the off-season. The prece- 
dent seems to hinge on the practice which governs the 
legitimate theater. The excuse offered is that people 
will not attend the motion picture show in hot weather. 
If exhibitors would go in for the proper ventilating plants 
and bear down in a body on the central station people 
for a lower current rate, I'm sure that July and August 
could be made good show months. The public seeks 
comfort in hot weather and entertainment is a large 
factor in their recreation schedule. Nobody will go into 
a room with low ceilings and bad air. If there is work 
for organized exhibitors it must lie chiefly in the subject 
of proper ventilation and an equitable electric current 
rate. 

Harry Rush Raver, tall, willowy and debonair, has 
my sincere apology for not acknowledging a beautiful 
letter he wrote me on or about the ninth instant. When 
I owe an apology, I try to make it out in the open, so 
folks will know. I believe, too, that Harry Rush Raver 
is to be congratulated out in the open for having recruited 
no less a personage than Augustus Thomas to the ranks 
of the motion picture. That is some regular haul, my 



brothers. But back to those few kind words that haunt 
me when I recall the months I have labored in this vine- 
yard where deficits have been my nightmare and hope 
my reward. Mr. Raver says Motography is helpful to 
the big game — that its supporters have surely come to 
know that it isn't mercenary; that it is readable; that its 
clientele is high grade and discriminating. Glory be, 
I'm glad clear through ! 

* * * 

If all the business comes to us that is promised for 
September, we will be happy till Christmas, when every- 
body shows. 

* * * 

We didn't get Bill Sweeney, but oh, you three reels. 

Society and Club Outings Filmed 

The Indiana Society Outing at Cedar Lake, the out- 
ing given by the Wisconsin Society at Racine, Wisconsin, 
and the Hamilton Club Outing which took place at 
Highland Park, where all made matters of enduring rec- 
ord by the Industrial Moving Picture Company of Chi- 
cago. 

The picture men at the Indiana Outing caught 
George Ade, John T. McCutcheon, Wilbur Nesbitt, and 
other famous Hoosiers in characteristic action, and at 
Racine the sons of Wisconsin, led by Fred Upham, per- 
formed stunts for the camera men who didn't miss a 
move. Mr. and Mrs. Upham with a party of friends re- 
cently viewed these pictures privately at Chicago with 
such interest that Mr. Upham purchased a complete copy 
for his personal record. 



90 



MOTOGRAPHY 



Vol. X, No. 3 



That Dietz Picture 

Miss Maibelle Heikes Justice, well known photo- 
playwright and also author of a number of magazine 
stories, has just completed a three reel scenario for the 
Advance Motion Picture Company of Chicago, based on 




Village Erected by the Edison Company for Filming "The Pied Piper of 

Hamelin." 

he history of the Dietz family of Wisconsin. The pic- 
ure, it is understood,- is to cover a period of seven years, 
beginning with the time when the Dietzes first moved to 
Cameron Dam, Wisconsin, and covering not only the 
spectacular defense of the dam but also the succeeding 
trial and conviction of John Dietz. Mr. George L. Cox, 
producer and general manager of the Advance Company, 
it is said, will film the story on the actual scene of the 
Dietz incident in the wilds of Wisconsin and the Dietz 
family will take their parts before the camera the same 
as they did in real life, and when completed it is expected 
the films will be used in Wisconsin in order to help se- 
cure Dietz's pardon, as there is now a petition in circu- 
lation containing over 45,000 names. Miss Justice 
writes Motography that in preparing the scenario she 
had as a reference and guide to her work over 200,000 
newspaper clippings referring to the Dietz family and 
their troubles. 



Pilot Company Shows Feature 

"The Streets of New York," a three-reel thriller, 
just completed by the Pilot Company, and now selling on 
a state rights basis, was exhibited on Thursday, July 17, 
at the Savoy theater, Thirty-fourth street and Broad- 
way, New York City. Many requests had been received 
to see this film, so the Pilot Company arranged for the 
private exhibition at the Savoy. A large crowd was in 
attendance, and all proclaimed the film to be one of the 
best features witnessed in a long time. There was a 
great deal of applause at different parts of the picture, 
especially where the hobo beats his way from the coast 
to New York. J. W. Hartman as the hobo surely makes 
a big hit. The Pilot Company is now preparing another 
three-reel feature. It is the intention of the company to 
turn out a state rights feature about once each month. 



Richard C. Travers Joins Essanay 

Mr. Travers brings an enviable record of success 
to Essanay, both as a leading factor in the legitimate field, 
and in photoplays, having been associated with the Lubin 
Company of Philadelphia for over two years. He left 



the Lubin people to accept engagements from Wagen- 
halls & Kemper's "Paid in Full," Liebler's "Alias Jimmy 
Valentine." Shubert's "Girls" and William A. Brady's 
"Making Good" and "A Gentleman of Leisure." Mr. 
Travers has also been with Charles Kleine's production 
of "The Gambler." His last appearance on Broadway 
was in "The Passing of the Idle Rich." Mr. Travers 
will play leads opposite Miss Doris Mitchell. 



At the Vatican 

To Mr. Charles Urban has just fallen the honor 
of giving the first Kinemacolor entertainment at the 
Vatican, and his Holiness, Pius the Tenth, who expressed 
his approval in no measured terms, has ordered the rep- 
resentation to be repeated at an early date. It may be 
added that Kinemacolor has been definitely selected 
(from amongst several competitors) to present to the 
world in life-motion and the actual tints of nature the 
daily life at the Vatican, including a great variety of 
cognate subjects such as the Pilgrimage to Lourdes, the 
Blessing of the Sea at Malta, and finally the Papal Bene- 
diction to the people. 



George Kleine Offers Publicity Service 

For the benefit of the exhibitor, George Kleine has 
installed a publicity department equipped to the last de- 
tail to meet the needs of theater owners. In addition to 
the usual publicity helps a number of new and original 
ideas have been added that will assure exhibitors the best 
possible aid in attracting patrons. 



Actress Becomes a Sleep Walker 

In a scene in "The Adventures of Jacques," Miss 
Vivian Rich, American leading woman, is rescued by 
Kerrigan from a high tower, by sliding down a rope 
from a height of 65 feet. The scene made a big impres- 
sion on Miss Rich and after she retired that night her 
mother was startled by hearing her talking in her room. 
She decided to investigate and on entering the room 
found her daughter about to throw herself out of the 



n 




\!i 






1 



Scene from "The Heart of a Jewess." Victor. 

window. "Start the camera, we are ready" Vivian 
shouted, and was just about to leap from the second story 
window when her mother caught her and awakened 
her. Mrs. Rich immediately rented a one story bungalow 
where her emotional daughter will be in less danger. 



August 9, 1913 



MOTOGRAPHY 



91 



A Two Reel "Alkali" Ike 

Augustus Carney Featured in Forthcoming Subject 



THE continued and even increasing popularity of 
the "Alkali" Ike series of Essanay films has led the 
Essanay Company to prepare a two-reel "Alkali" 
Ike picture which will be released on August 15. The title 
of the multiple reel comedy is "Alkali Ike's Gal," and 
all the players who have done their part in making the 
Carney films popular appear in both reels of the latest 
picture of the series. 

As the picture begins we see Augustus Carney, as 
"Alkali," laboriously patching a huge tear in his coat. 
Following some difficulty in threading his needle and 
getting the patch to fit, Ike gets to work, only to dis- 
cover, as he finishes, that he has sewed the blanket from 
his bed into the patch. About the time when Alkali is 
having his troubles, Slippery Slim and Mustang Pete, 
two of Ike's neighbors, are having equal difficulties in 
preparing their meals, neither gentleman being much of 
a cook. Rawhide Bill, another resident of the gulch in 
which Ike, Slippery and Mustang reside, is seen trying 
to do his own washing and cursing profusely the while. 

It is quite natural, therefore, that the arrival of the 
mailman with a circular from a matrimonial agency 
strikes the various residents of Snakeville while in a 
most receptive mood. The photograph of the goods 
handled by the matrimonial agency strikes the eye of Ike, 
Slippery, Mustang and Rawhide as about the niftiest 
thing in the feminine line they have ever laid eyes upon, 
and when they discover that the lady can both cook, sew 
and wash, their joy is further increased. 

Each recipient of a circular at once gets busy with 
the composition of a letter to the fair lady who is seek- 
ing a husband, and nightfall finds each applicant for the 




Scene from Essanay's "Alkali Ike's Gal." 

lady's hand and heart on his way to the mailbox with 
his reply to the circular. By some strange coincidence, 
each lonely individual has advised the lady of his choice 
that she will be able to recognize him, upon her arrival, 



by the fact that he will wear a white rose in his button- 
hole. 

Now, it happens that Alkali Ike rises early the 
morning of the lady's expected arrival and thus is able 




Scene from Essanay's "Alkali Ike's Gal." 

to obtain the only rose which blooms in that vicinity. 
When the rivals for the lady's hand discover that Ike 
has adorned himself with the only white rose within a 
radius of several miles their indignation knows no 
bounds, and they are ready to perpetrate almost any des- 
perate act by way of revenge. 

When Miss Sophie Clutts, the lady who advertised 
for a husband, arrives at Snakeville she promptly dis- 
covers Alkali Ike by means of the rose in his buttonhole 
and is about to accompany him to his lonely cabin, when 
Slippery, Mustang and Rawhide appear. They have by 
stealth obtained a note addressed to Ike from old Dr. 
Tattler, in which Ike is advised to "take good care of 
Ada and the baby" until the doctor calls again. Armed 
with this letter they are easily able to convince the fair 
Sophie that Ike is deceiving her and is far from being 
the single man he seems. They lead her away in 
triumph while Ike is left to ponder over his undoing. 

After throwing most of Ike's wardrobe out doors 
the three rivals for the fair (?) Miss Clutts install that 
lady in Alkali's cabin and return to their various domi- 
ciles. Ike meanwhile has sought refuge within the barn, 
and while vainly seeking rest and sleep on a bale of 
hay, studies out a plan to outwit his tormenters. Study- 
ing over the letter which refers to "Ada and the baby," 
and which he now realizes was the reason for his loss of 
prestige in the eyes of Miss Clutts, Ike decides to add a 
few postscripts to that epistle and then to have Miss 
Clutts again read the letter. Having composed the neces- 
sary additional paragraphs, Ike refolds the letter, and, 
addressing it to himself, throws it through the window 
of his cabin just as Sophie is arising in the morning. 

While cleaning up about the cabin and washing 
dishes Miss Clutts comes upon the letter which had been 
tossed through the window, and thinking that she may 
come upon still further evidence of the duplicity of her 
first suitor, she opens it. Great is her surprise when 
the first paragraph to catch her eyes warns Alkali Ike 
against Slippery Sam, who is alleged to be "a hoss thief 



92 



MOTOGRAPHY 



Vol. X, No. 3 



and a cattle rustler." Reading further, she learns that 
Mustang Pete is a "gambler and a drunkard," and that 
Rawhide Bill has "deserted his wife and killed his 
mother-in-law." 

It is not at all surprising, therefore, when the three 



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Scene from Essanay's "Alkali Ike's Gal." 

rivals for her hand appear, one after the other, that the 
husky Sophie spurns them each in turn and then firmly 
ejects them from her domicile. Ike meanwhile, who 
has been hidden in the immediate vicinity, has taken in 
the whole performance and noted with what success his 
plan is working. 

When the last of the rivals has been disposed of, 
Ike determines to make one more try for the favor of 
the lady who has come so far in search of a husband. 
He gingerly obtains entrance to the cabin and by pleas 
and entreaties induces Miss Clutts to listen to his ex- 
planation of Dr. Tattler's letter. Miss Clutts, in a spirit 
of fairness, permits him to tell his story, but is still a 
bit doubtful about the reference to "Ada and the baby." 
Ike smiles knowingly, however, and says that that matter 
is easiest of all to explain. He tells Sophie that she 
will have to accompany him to the barnyard, though, as 
he is going to present her to Ada and the baby. Much 
astonished, Miss Clutts follows Ike around to the rear 
of the cabin and there sees a sleek bay mare and a tiny 
colt by her side. No further explanation is necessary. 
Miss Clutts is entirely mollified and throwing one plump 
arm about Ike's neck, she asserts that she knew all along 
he was the one man destined to be her husband. 

Slippery, Mustang and Rawhide, who have mean- 
while been watching affairs with interest from a distance, 
faint dead away when they behold Sophie's loving em- 
brace of Ike. 

The cast is as follows : 

Alkali Ike Augustus Carney 

Slippery Slim Victor Potel 

Mustang Pete Harry Todd 

Rawhite Bill Fred Church 

Sophie Clutts Margaret Joslyn 



Doris Mitchell Joins Essanay 

Doris Mitchell has entered the ranks of the motion 
picture industry, having been engaged by the Essanay 
Film Manufacturing Company to portray leading roles. 
Miss Mitchell comes to the Essanay eastern stock com- 
pany at Chicago with more than an ordinary reputation, 
having starred in more legitimate productions than most 
of the photoplay stars. Miss Mitchell played with the 



Marlowe stock company in Chicago for several seasons, 
enacting various roles in everything from Shakespeare to 
comic opera. Possessed of unusual beauty and excep- 
tional talent, much is expected of Doris in forthcoming 
Essanay productions. With Sothern and Marlowe, Miss 
Mitchell first became a prominent figure in the lime- 
light. 



'Why New York Withdrew 

A brief statement, covering the exact reasons for 
the withdrawal of the majority of the New York dele- 
gates to the third annual convention of the Motion Pic- 
ture Exhibitors' League, from the sessions of that body, 
has been received from Samual H. Trigger, president 
of the Motion Picture Exhibitors' Association of Greater 
New York. 

Mr. Trigger states that President M. A. Neff re- 
fused absolutely to give any accounting of the expendi- 
tures which he claimed had been made. This was ac- 
complished, says Mr. Trigger, by Mr. NefPs refusing to 
permit the report of the various committees to be read. 
It is also alleged that due to Mr. Neff's attitude regard- 
ing the question of national censorship the New York 
delegates came to the conclusion that he would not be 
the proper individual to represent them as president, and 
therefore, they decided, with the help of Mr. Sweeney, 
the Chicago candidate, and Mr. Herrington, the Pitts- 
burg candidate, to nominate Mr. Phillips of Texas. In 
this decision they were supported by the delegates from 
Illinois, Minnesota, California, Pennsylvania, Wiscon- 
sin, Indiana, Massachusetts, Canada and Texas. Fol- 
lowing the casting of the ballots and the vote of the 
state of Texas for Mr. Neff, after they had pledged them- 
selves to support Mr. Phillips, the New York delegates 
concluded that due to the clandestine methods of cer- 
tain delegates they had been temporarily outwitted by 
those whom they had trusted and that the welfare of the 
exhibitors was being jeopardized. 

Mr. Trigger's statement concludes as follows : 

"Realizing that it was essential to the industry at 
large to have none but trustworthy, reliable and repre- 
sentative people at the head, there was nothing left for 
us to do but to withdraw. 

"We have no hesitancy in saying that if Mr. Neff 
had not refused to give the report of the accounting com- 
mittee and had not adopted the censorship platform, 
and furthermore, had not resorted to the tricky methods 
of the convention, he would certainly have had our en- 
dorsement. 

"We have this day offered and are still willing to 
pay the railroad mileage of each and every vice-presi- 
dent who will send the amount of his mileage, and this 
is done in accordance with an understanding previously 
had in regard thereto, but the offer has been refused, 
and the National League demands that the money be paid 
it, and it will disburse the fund as it sees lit." 



New Studio Nearly Complete 

Work on the open air stage of the new Reliance 
studio is progressing so rapidly that at least one company 
will be producing pictures there by August 1. Eddie 
Schulter is dividing his time between the uptown and 
downtown plants while Rosemary Theby, Edgena de 
Lespine and a number of other members of the regular 
stock company are preparing to live in the beautiful 
neighborhood of Riverdale-on-the-Hudson where they 
will he near the scene of their labors. 






August 9, 1913 



MOTOGRAPHY 



93 



Motogfraphy's Gallery of Picture Players 



ALEC FRANCIS, he of the English accent and elusive 
smile, was born in London and followed a variety of 
callings before he took to pictures ; he studied law, played 
in London stock, soldiered in the British army, did some 

real work in Canada, 
sang in American 
musical comedy and 
then steered his am- 
bitions into the pic- 
ture field. The Vita- 
graph studio was his 
starting point and 
from there, via a big 
offer, to the . Eclair 
studio, is his history 
up. to date. To dis- 
prove the general be- 
lief that gentlemen of 
England know not • a 
joke when they meet 
one, Mr. Francis 
takes particular pleas- 
ure in this form of 
entertainment, and 
what's more, he can 
remember them and 
pass, them . on, whole. 
To him, every situa- 
tion has its funny aspect; hence his optimism and favor- 
itism among his fellow-players. At times Mr. Francis 
is a director and always his ambition is to dispel the be- 
lief that the English can play nothing but Johnnie parts. 




ROBERT W. FRAZER, called "Bob" by everybody 
who knows him for more than ten minutes, picked out 
the stage as a means of livelihood because he thought that 
would be an easier way than working; and right away 

he discovered his 
mistake. However, 
as the stage stood for 
him he decided it was 
no more than fair 
that he stand for it; 
a three years' con- 
tract with the Savage 
management is but 
one testimonial of 
this mutual under- 
standing. That same 
contract, though, is 
rather a bug-bear to 
Mr. Frazer, as it calls 
him away from his 
work in Eclair pic- 
tures, every once in 
a while. That was 
how it happened that 
he was seen in the 
leading roles of "The 
Million" and "Excuse 
Me" last season and 
the next call is due for the coming fall. Mr. Frazer's 
climb to his present high rating was a rocky one, but he 
has climbed high in his twenty-four years which, by the 
way, began in Framingham, Mass. 




BARBARA TENNANT was born in London, Eng- 
land. Her stage debut occurred when she was a baby, 
and her first big role was given her when she was seven- 
teen. She especially likes Shakesperean drama and comedy 
and appeared in both, 
in England. Ameri- 
can drama and light 
comedy claimed her, 
the "Seven Sisters" 
being the last legiti- 
mate production in 
which she played. 
Then she posed for 
an Eclair picture and 
the Eclair people de- 
cided they'd make her 
leading lady, if she'd 
stay, and she decided 
she'd stay, if they 
asked her. That was 
eighteen months ago 
and she's still doing 
stellar honors for the 
company which is 
noted for the beauty 
of its ladies ; and 
Miss Tennant is one 
of its prettiest. Her 
brown eyes are very big and very round ; her hair is very 
curly and very brown, and her smile is very sweet and 
very much evident; and everybody likes her, so she is 
quite content. 







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MILDRED BRIGHT sang and danced an entrance 
into stage-land, four years ago, by way of the mu- 
sical comedy "Havana." That was just by way of enter- 
ing, for her tendencies and ambitions were for the drama 
and not for musical 
comedy. However, 
the latter served and 
she considers her 
three years' experi- 
ence in this line, most 
valuable. The oppor- 
tunity to play straight 
drama seemed long in 
coming but, with Oc- 
tober last, it made it- 
self welcome in an 
offer from the Eclair 
company and since 
then, Mildred has oc- 
cupied one of the 
Eclair's sunny dress- 
ing-rooms and lets 
her sunny disposition 
show itself in the 
strong Eclair films in 
which she demon- 
strated to herself and 
others, in fact that 
the niche she fills was particularly meant for her. She 
believes in the "early to bed and early to rise" proverb 
and devotes her morning hours, thus gained, to horse- 
back riding. She likes swimming and tennis, too. 




Mildred Bright. 



94 



MOTOGRAPHY 



Vol. X, No. 3 



"The Green God 1 ' 

On August 6, a three-reel subject entitled "The 
Green God," or "The Flower Girl of Montmartre" will 
be released by the Union Features. The story tells of the 
interruptions to the love affair of Marie-Louise, a little 
maid who makes her living by selling flowers. Gaby 
Derilly, a Parisian beauty, is induced to compel Pierre 
Sandri, Marie's sweetheart, to fall in love with her, in 
order that .Marie, scorned and forsaken, may in her grief 
fall in love with Baron Desroches, who has been at- 
tracted by her beauty. The plan is successful for a time 
but, finally, Pierre and Marie are restored to each others' 





Scene from "The Green God." Union Features. 

arms and so the green god of jealousy is conquered at 
last. The cast appearing in this three reel production is 
as follows : 

Pierre Sandri M. Damores 

Baron Desroches M. Liabel 

Marie-Louise Jaumier Mile. Marise Dauvray 

Gaby Derilly Mile. Josette Andriot 

Mme. Jaumier Mme. Lemercier 

The art of this group of stars is known the world 
over. Each flash of the eye, gesture of the hand or 
turning of the head expresses a volume of emotion, and 
the picture is apt to remain in one's memory long weeks 
after one has viewed it. 



The Theater and the Film 

How should the Big Theater regard the great in- 
vader, Film ? That's up to Big Theater. 

How should Film regard Big Theater? Why, as 
a convenience. 

For Film is ever practical, ever successful. Fred 
Mace, a practical film man, strikes the note of the con- 
venience thing. In Los Angeles, where Mace's New 
Majestic Company works, is the Orpheum, a "big time" 
theater. Maybe the managers don't like the intruding 
moving pictures. But Mace doesn't come back with dis- 
like for the managers. 

Instead, when he needs good people of a type he 
"looks over" the show at the Orpheum and arranges that 
they can work for him, while keeping their vaudeville 
date. That's how he came to use Howard and Lawrence 
in "One Round O'Brien Comes Back." The other day 
he had a scenario called "The School Kids' Picnic," that 
called for a lot of exceptionally bright youngsters. Mace 
sent over to the Orpheum for Gus Edwards' Kids, who 
were headlining there that week and got 'em. 



Earl Judson Hudson, who used to assist in keeping the 
"U" in Universal, but who now spends his time calling on or 
writing to school boards and superintendents of public schools 
in the interests of the Standard educational films, paused a few 
minutes in Ye Ed's office, while in Chicago recently, and tried 
to make good on that dinner invitation extended some months 
ago. Though Ye Ed had an engagement with the missus and 
so couldn't get away for the eats, he mightily enjoyed the call 
and the latest Noo Yawk gossip Hudson spilled while in our 
sanctum. Come again, Earl. 

Eddie Roskam's steno has helped a lot to make a new 
place famous. Most compositors are quite familiar with the 
famous ETAOIN on the SCHREDLU, but Roskam's typo tells 
us about a stockholders' meeting of the Commercial Motion 
Picture Company which is to be held at 102 West QPQst Street. 
While we didn't quite "get" the new address, we hope the stock- 
holders all arrived safely. 

THE ENRAPTURED PRESS AGENT. 

In one of the latest press sheets to come to our desk the 
Selig dopester in telling of the removal of Thomas Parsons, 
former superintendent at the Chicago plant, to the animal farm 
at Edendale, Calif., gets the following off his chest: "He will 
remove his lares et penates to the glorious climate where he 
can be lulled to rest by the mellifluous roars of the lions or 
the diabolic laughter of the hyenas, in preference to the carping 
chatter of the actors, the kicks of the clicking camera men or 
the acidified remarks of the developing department." Good 
stuff, Nixon, good stuff. 

Did you happen to get a flash at that Bonellia thing, shown 
in a portion of the Patheplay called "Curious Sea Creatures?" 
— it's some regular fish believe us. We'd like to tell you more 
about it — but it's a long tail. 

And speaking of pictures we have seen, one day last week 
we saw Broncho's "A War Time Mother's Sacrifice" on the 
screen and you can take it from us when they make a better 
war drama than that they will be going some. We'll bet a 
cookie Bert Ennis can't find good enough adjectives in the 
dictionary to fittingly describe it. 

Honest now, lads, have you seen one of those Alkali Ike 
dolls that Don Meaney has been boosting so hard? Don 
promised us one weeks and weeks ago, but we haven't seen any- 
thing of it yet, and are almost ready to believe there ain't any 
such animal. 

SCENARIOS THAT ANYONE CAN WRITE. 
Jim and Joe employed in bank. Jim, in love with Joe's sister, dis- 
covers that Joe has been embezzling funds of bank. Shortage discovered 
by bank president. Joe accused. Appeals to Jim for help. In order to 
save Joe's sister from disgrace Jim assumes blame. Sentenced to prison. 
Ten years later, Joe, on deathbed, confesses all. Jim's name is cleared, 
renovated, disinfected. Restored to former post in bank. Marries girl. 

Ye Ed just finished reading Mabel Condon's story of her 
flight in an aeroplane and take it from us Mabel thoroughly 
enjoyed herself flitting around among the clouds. She says so 
herself. Wouldn't be a bit surprised to hear that Ringling 
Brothers had engaged her for next season to loop the loop on 
a pair of roller skates. Odds are eight to five that Mabel 
would try it at that. — 

Stroller of The Kinematograph and Lantern Weekly had a 
nice little chat in London, England, the other day with J. R. 
Freuler, of Our Burg and that dear old Milwaukee, and says 
in his paper that John is some regular fellow and thinks a lot 
of the English picture theaters. J. R. is a great little jollier, 
and must have banded our British friends a sample of good old 
American "spoof." ■ — 

We had a hunch that that nature fake about the boa-con- 
strictor 3,000 feet long, that we mentioned in this column a 
week or two ago would start some rivalry among the film manu- 
facturers and, sure enough, here comes the Universal publicity 
man with a film, "The Snake — Two Thousand Feet Long." 

And still the fight between the League and the Association 
goes merrily on. — 

Mav the best bunch win. N. G. C. 



August 9, 1913 



MOTOGRAPHY 



95 



Motion Picture Making and Exhibiting 

By John B. Rathbun 



CHAPTER V {Continued) 

THE rental price of film varies with its age, a "first 
run," or new film, being the most expensive, from 
which point the price tapers down until the film is 
no longer fit for service. The price also varies consider- 
ably with the amount of competition existing between the 
film agencies in the town from which the film is obtained. 
As a rule, the cost of a "first run" film is only justified 
in the larger cities, where the motion picture patrons 
have every opportunity of seeing the latest productions 
and where it would be suicidal for a shopping district 
show to exhibit anything but the newest features. 

Except for the topicals or "weeklies," very few of 
the films lose interest for the reason that they are two 
or three weeks older than their release dates, and there- 
fore they are as much appreciated by the audiences of 
the smaller communities as the subjects hot from the 
factory. As long as the film is clean, and whole, and with- 
out rainy spots or torn-out sprocket holes, it is good for 
thirty days after its release in any small town, until com- 
petition makes it necessary to book films of more recent 
date. After a film is more than thirty days old, it is 
known as a "commercial," and because of its long serv- 
ice, is usually in such a bad condition mechanically, 
that it is inadvisable to run a show made up exclusively 
of these films. 

When three reels are run per show, one of 
these may be a commercial and the others not older than i 
ten or fifteen days, this arrangement permitting a fairly 
good show at a small expense. One commercial in a 
two-reel show is too conspicuous, unless the exhibitor is 
fortunate enough to procure his films in a better condi- 
tion than is common with this class. Two reel, ten-day 
film shows are the most common in the suburban dis- 
tricts of large cities, two and three reel first runs being 
confined strictly to the shopping and business districts. 
Very few of the show's patrons will put up with the con- 
tinual breaking of old patches, and the jiggling and flut- 
tering rain-streaked commercial. 

When an exhibitor is paying for films less than 
thirty days old, he should check up the exchange so that 
he may be sure that he is getting what he is paying for. 
This may be done by means of the film records contained 
in the back of the motion picture trade magazines that 
list all of the films produced by the various film manu- 
facturing companies, together with their release dates. 
One magazine in particular publishes a small film record 
hand-book in which all of the films are recorded in the 
order of their release dates, which makes it a simple 
matter for the exhibitor to obtain this information. 

The routine of the program followed by the average 
picture theater is as follows : 

(1) Announcements. After the lights in the audi- 
torium have been dimmed, the stereopticon 
throws a few advertising or house announce- 
ments on the screen. These may be cards from 
the local merchants telling of a special line of 
goods or a sale, or they may be slides telling 
of certain features of the house management 
such as "Pictures Changed Daily," "Weekly 
Review Every Tuesday Night," or "Special 
Educational Release Tomorrow." 

(2) Motion Picture. The first film follows the an- 



nouncement immediately the last slide dissolv- 
ing into the "leader" of the film, if the theater 
is equipped for this arrangement. In no case 
should a long intervening glare of light precede 
the picture, nor should any perceptible time 
elapse between the slides and the film. At the end 
of the film it is preferable to dissolve the pic- 
ture so that it gradually fades away, instead of 
having it come to an abrupt end with a shower 
of dancing spots and a glare of light. 

Should the film break or some other acci- 
dent occur in the operating booth, a slide should 
be immediately projected, notifying the audi- 
ence that the show will be continued in a few 
moments. Announcement slides such as "Just 
a Moment Please," or "Film Will Start in a 
Moment," can be obtained at any exchange. 

While the film is being shown, the pianist 
or orchestra should play music that is appropri- 
ate to the picture, and not a miscellaneous med- 
ley of airs that may occur to the player as the 
show progresses, as it is possible to dispell the 
illusion entirely by the carelessness of the mu- 
sician. Musical scores for nearly all of the 
films may be obtained from the exchanges. 

(3) Song. At the end of the film, the singer en- 
ters, and the first song slide is projected upon 
the curtain, or in case the song slides are not 
used, the operator trains his spot light upon 
the singer at the moment of entrance, being 
careful to follow every movement with the 
light. When two operators are employed, as 
is usually the case when song slides are used, 
the first rewinds the film, and the second oper- 
ates the stereopticon. With one operator, the 
rewinding must be postponed until the inter- 
mission. The employment of two operators is a 
real economy on busy nights and holidays, or 
in shopping district shows, as with two men 
the intermissions are shorter and more shows 
may be given in the working hours. 

For the best effect, the first lantern slide 
should dissolve into the tail piece of the film, 
without intermission, an effect that is only pos- 
sible by the use of two operators. At the end 
of the song, the motion picture machine oper- 
ator projects the "leader" of the film into the 
last song slide, which is gradually dissolved out 
of the field before the end of the leader. 

When there is only one operator, and when 
a spotlight is used in place of the slides, the 
singer should be kept as nearly as possible in 
one position so that the operator will not have 
to be continually on the alert with the spot. 

(4) Second Film. Follows in the same way that 
the first follows the announcement slides. 

(5) Second Song. 

(6) Intermission or Third Reel. At the end of the 
second song, or the third reel, if one is used, 
the stereopticon operator projects an announce- 
ment slide, "End of the Show. Those Who 
Have Not Seen the Entire Performance May 

' Keep' Their Seats." The auditorium lights are 



96 



MOTOGRAPHY 



Vol. X, No. 3 



now turned on to full brilliancy and prepara- 
tions are made for the next show. 

ADVERTISING THE SHOW. 

In small towns it is advisable to carry a small ad- 
vertisement in the local paper, the usual cost of $1 per 
week for this service is usually well spent, for in these 
towns the subscribers read everything in the paper in- 
cluding the advertisements and the ad is a constant re- 
minder. Owing to the area covered by the large cities, 
to the number of shows that cater to a local trade, and 
to the cost of even a small card, it is seldom advisable 
to advertise in the daily papers of a town having more 
than 50,000 inhabitants, except when the show is located 
in the principal shopping districts or business center. 
When newspaper advertising is carried, the ads should 
be changed frequently to keep up the interest, and if 
possible should give all of the coming features of spe- 
cial importance. 

Hand bills announcing some special feature film are 
sometimes of value in the residence districts of large cit- 
ies or for general distribution in small towns. Unless 
these bills offer some special treat in the way of a spe- 
cial program they should not be used. The expense of 
covering a territory by hand bills is generally somewhat 
greater than covering it through the local paper, and 
unless care is taken in the distribution, the impression 
given by the bills is not likely to be favorable. 

Billboard service is sometimes used on special oc- 
casions, announcing a multiple reel feature film for a 
centrally located theater of more than local reputation. 
The expense of this system is considerably greater than 
any of those previously mentioned, and should not be 
undertaken by a small show. The posters may be ob- 
tained from the exchange or from the producers of the 
film for a nominal price. 

One of the advantages of advertising in a news- 
paper lies in the fact that a reading notice may be ob- 
tained occasionally in the columns explaining the won- 
ders of some new production. If carefully written in 
an entertaining way from the prospectus of the manu- 
facturer, the write ups often prove a godsend to the 
exhibitor. An occasional biblical film, endorsed by the 
local clergy often brings patrons that would never have 
patronized the theater under other conditions. When 
these people discover that the show is clean and that 
it is attended by a good class of people they usually con- 
tinue their visits. 

THE TICKET OFFICE. 

The regular motion picture tickets are supplied in 
rolls and may be obtained from the film exchange at a 
reasonable price. The cashier tears off a ticket for each 
patron, who in turn presents it to the ticket taker in the 
theater. The tickets are a check on the paid admissions, 
and if carefully used will prevent many leaks in the fin- 
ancial end of the show. 

The number of tickets in the ticket takers posses- 
sion represents the amount of money received by the 
cashier, and should therefore be equal to the number of 
the end ticket on the roll before the show, subtracted 
from the number on the end ticket after the show. There 
are devices now on the market, that in a way resemble a 
cash register, that afford an absolute check on the num- 
ber of tickets sold. These are metallic boxes contain- 
ing one roll of tickets that can only be unlocked by the 
manager's key. The ticket is issued to the patron by 
pressing a lever that cuts off the ticket and at the same 
time registers the transaction on a counting mechan- 
ism on the inside of the machine. 

If the color of the tickets is changed day by day, 



it is almost impossible for anyone to enter without pay- 
ing, or by discarded tickets from the day before. To 
prevent the tickets from being used a second time a 
"ticket chopper" may be used that mutilates the ticket in 
such a way that it is impossible to present it without 
detection. As these machines are quite expensive, their 
use is usually confined to the larger shows. In any case 
the manager should burn the tickets taken from the 
ticket box at the end of the day's performance, to pre- 
vent a second admission on one ticket. As a further 
check on the ticket system, the manager should occasion- 
ally count the house during one or more performances 
and compare the results with the ticket numbers in the 
ticket taker's box. 

PROFITABLE SIDE LINES. 

In many cases the theater owner can increase his 
profit over the amount received from the admissions by 
carrying local advertising for groceries, drug stores, or 
other business establishments in the neighborhood. 
While the patrons will not object to a limited amount of 
this sort of display, care should be taken so that the 
advertising idea does not become one of the most promi- 
nent features of the show. It is best to limit this dis- 
play to a short time during the intermission only, and 
not after the theater is darkened for the show. 

When advertising slides are projected on the screen 
just before the first film, particular care should be taken 
not to take too much time, as the audience is naturally 
anxious for the show to begin and does not take kindly 
to any interruption of this nature. Three slides should 
be the limit in any case, and they should be of an inter- 
esting and artistic nature, never of the home-made hand- 
written type. The cost of the slides should be met by 
the advertisers. In neighborhood shows, the slides 
should be changed at frequent intervals to prevent their 
"going stale." 

When a drop curtain is used to cover the screen 
during the intermission, it may be used to display a 
number of advertisements. The same method can be 
applied to the street scenes used in the vaudeville show, 
if one is contemplated in connection with the pictures. 
By the combination of the drop and the street scenes it 
is possible to accommodate a number of advertising 
clients, and this should bring a considerable revenue to 
the show. Like the slides, the drop advertising should 
be changed occasionally, so that the interest will be 
maintained. 

Program advertising is possible with the majority of 
theaters seating five hundred or over, and this is prac- 
tically the best form of display, since the program is 
useful to the patrons of the show and for the reason 
that many of the pamphlets are carried home for future 
consultation. In this way the theater can obtain its 
program free and usually with a fair margin of profit 
over the printer's bill. 

In addition to the advertising, many theaters make 
a practice of selling candy during the intermission. In 
the majority of cases this proves a nuisance to the audi- 
ence, unless the management is fortunate enough to se- 
cure a vendor or "candy butcher" that can make his sales 
patter entertaining. After visiting many of the principal 
theaters in Chicago, the writer can remember only two 
instances in which the vendor proved anything but a nui- 
sance to the audience. Either stay in the motion picture 
business or go into the candy business ; don't mix them. 
{To be continued) 



We are moving very fast these days, but nothing is 
moving faster than moving pictures. 



August 9, 1913 



MOTOGRAPHY 



97 




"The Good Indian," Selig Release of Aug. 22. 

A DiamoncUS Potpourri 

Interesting Items from Selig's 



To Release Two-Reel Feature Weekly 

Arrangements have been completed between the Gen- 
eral Film Co., and the Selig Polyscope Co., whereby the 
latter concern will release each Monday as part of its 
regular program some two-reel feature. This new re- 
lease will take the place of the regular Monday single 
reel, The.. new arrangement starts on August 11, on 
which date the Selig Company will present a drama 
based upon the exploits of a world-famous hobo, sup- 
posedly the notorious "A No. 1." The tramp in this pic- 
ture is. known by the cognomen of "The Crow." The 
plot is said to be unique. The title of the drama is "The 
Flight of the Crow." On Monday, August 18, the Selig 
Company will release the second of the series of regular 
two-reel features under the title of "The Child of the 
Sea," which is a drama of the lighthouse service. In 
connection with the new policy of releasing a two-reel 
feature every Monday, the Selig Company will also re- 
lease one or more special features each month through 
the feature program of the General Film Company. 

Among the big things being held in store by the Chi- 
cago concern for release this summer, are several pro- 
ductions of great magnitude. Among them, the three- 
reel wild animal masterpiece, which was exhibited re- 
cently at the New York Exposition of Motion Picture 
Art held in Grand Central Palace. Another striking 



series which will make its appearance this fall, will be 
known under the general title of "The Man in the 
Street." Under this series the man in the street who 
is one of the world's greatest detectives, runs to earth 
the "Invisible Government" at present receiving such 
world-wide publicity in Washington. In another pic- 
ture, the man in the street solves a baffling diamond rob- 
bery in New York City's high society. In the last pic- 
ture of the series, the man in the street causes a con- 
science-fund to be distributed by the lobbyist and politi- 
cal grafters who have waxed wealthy through the organ- 
ization of the "Invisible Government." Each picture in 
the series is complete in itself but the same characters 
prevail throughout the entire series. Mr. Tom Carri- 
gan plays the principal part, that of "The Man in the 
Street." 



Gertrude Coghlan Joins Selig 

Announcement comes from the executive offices of 
the Selig Polyscope Co., that Miss Gertrude Coghlan, 
the famous American actress, will become a regular 
member of the Selig organization next month. She will 
for the present, be located at the Chicago studios of the 
company, and will make her first picture appearance in 
a series of plays specially written to suit her personality. 
Miss Coghlan is famous for her beauty and emotional 



98 



MOTOGRAPHY 



Vol. X, No. 3 



ability, and should prove one of the strongest drawing- 
cards in the motion picture world. Miss Coghlan's 
career upon the legitimate stage has been marked with 
exceptional success and several times she has starred 
on Broadway. Among her more recent successes, might 
be noted the leading role, in "Alice of Old Vincennes," 
the part of Clara Hunter in "The Climbers," and the all- 
star revival of Bronson Howard's comedy. "One of Our 
Girls." Miss Coghlan's greatest success was undoubted- 
ly made in the part of Shirley Rossmore in "The Lion 
and the Mouse." Following upon this hit she appeared 
in "The Royal Box" and "The Traveling Salesman" with 
Frank Mclntyre. 



Selig Company Producing "The Spoilers" 

The combined forces of two out of the eight Los 
Angeles companies, with the co-operation of the entire 
production and executive staff of the western branch, 
are at present actively engaged in the stupendous pro- 
duction of an eight-reel feature picture of "The Spoil- 
ers," from the popular book of the famous author, Rex 
Beech. For the purpose of this tremendous produc- 
tion, Mr. W. N. Selig, president of the Selig Polyscope 
Co., who has been on the ground giving his personal at- 
tention to the supervision of the work, specially engaged 
William Farnum, who is declared to be one of the great- 
est, actors in this country at the present time. Marshal 
Farnum, also a famous actor, and brother of William, 
was engaged also for this production, and these two 
stars have been surrounded by the pick of Selig's famous 
stock players, among them, Bessie Eyton, Kathlyn Wil- 
liams, Thomas Santchi and Frank Clark. Mr. Collins 
Campbell, the well known Selig director, is the producer 
in charge of the mammoth production. He is being as- 
sisted by Mr. Norvel McGregor. Mr. Thomas S. Nash, 
general manager of the Pacific Coast studio, has general 
charge of the entire production. 



Edison's "The Robbers" 

On August 2 the Edison Company releases "The Rob- 
bers" which has been adapted from Frederick Schil- 
ler's well known drama, and makes a film not only quite 
out of the ordinary, but also one which is, to say the 




least, highly spectacular. The Edison Company issues 
the following synopsis of the film : 

Charles, the favorite son of Count Moor, is in love 
with Amelia, his father's niece and ward. Charles' 
brother, Francis, a sly, malevolent personality, hates 
Charles in the double role of less favored brother and 
rival in love. 



As a consequence of a drunken brawl, Charles is 
expelled from the University at Leipsic. Realizing that 
the news will be a terrible blow to his affectionate father, 
he writes him an appealing letter, and retires to Weingart 
in Bohemia to await the count's forgiveness. Francis 




intercepts his brother's letter and quickly taking advan- 
tage of the opportunity to oust Charles from his father's 
favor, replaces it with another of his own composition to 
which he forges Charles' signature. The count, heart- 
broken by the careless, insolent tone of the forged let- 
ter, disowns his favorite son, and makes Francis his 
sole heir. 

To the penitent Charles in Bohemia, the news of 
his father's decision comes like a thunderclap. Careless 
of consequences, he readily assents to the plan of his 
companions to form a band of robbers with himself as 
captain. 

Francis, with the aid of Herman, an enemy of his 
brother's, causes the old count, to. believe that Charles 
has been killed in battle. The count falls apparently life- 
less at the terrible news. Just as he is being interred 
Francis discovers that his father is not dead. However, 
the villainous son does not falter. He forces his hor- 
rified father into the vault and furnishes him with barely 
enough food to keep him alive. 

Meanwhile Charles, a notorious bandit with a price 
on his head, visits his father's castle in disguise and dis- 
covers the full extent of his brother's treachery. Sum- 
moning his faithful band, he storms the castle, liber- 
ates his dying father, and shuts Francis up in the dun- 
geon in his place. 

Amelia, who has fought against the daily impor- 
tunities of the wicked brother, now fully realiz- 
ing Charles' true character, flies to him. He stretches 
out his arms to her, but the bandits interpose their 
swords between the lovers. Charles has consecrated his 
life to them and cannot have Amelia. The desperate girl 
prays them to kill her as life is no longer of any value. 
Charles gives himself up to the authorities, arranging in 
his last moments of freedom that the reward for his 
capture shall be paid to a worthy peasant. 

The cast is as follows : 

Count Moor Robert Brower 

Charles, his favorite son Rcnjamin F. Wilson 

Francis, his other son Barry O'Moore 

Amelia, liis niece Mary Fuller 

Herman, a young nobleman Harry Kendall 

Switzer, a student Charles Ogle 

The money lender Edward Mack 

The college professor Augustus Phillips 

Students, members of the hand of robbers, etc. 



August 9, 1913 



MOTOGRAPHY 



99 



Sans Grease Paint and Wig 

By Mabel Condon 




Arthur Johnson. 



WE were in the 
midst of a 
fragile re- 
past of cornbeef and 
cabbage, green corn 
and iced t e a — Mr. 
D'Arcy and I — in the 
Lubin studio's dining 
room, when Arthur 
V. Johnson found us. 
We had been 
trying to find him for 
an hour, ever since 
the noon train from 
Wildwood had come 
in, but finally had 
taken our discourage- 
ment and appetites to 
the dining room, 
though Mr. D'Arcy 
didn't know he was 
accompanied by his 
appetite ; in fact he 
remarked that he was 
not hungry — iced tea and a little bite was all he wanted. 
But my appetite was full-grown ; an early breakfast in a 
Pennsylvania diner had left one or two things to be 
desired (corn beef and cabbage, green corn and iced tea, 
for example), and while we waited for these delicacies 
Mr. D'Arcy ate rye bread and drank ice water, as an 
appetizer, and later was able to make out a fairly sub- 
stantial meal with the addition of an extra order of corn, 
a second glass of tea, some white frosted cake and 
strawberry cream. 

It was with the corn beef course that Mr. Johnson 
made his appearance. He was tired and hot, despite tne 
cool look of his gray-striped silk shirt, and he was glad 
to be back in Philadelphia. Wildwood sounded a lot 
cooler to me than Philadelphia did, but Mr. Johnson said 
that was because I had never been there making pictures, 
and I admitted that maybe it was. 

"This is the coolest little spot in town," he remarked 
as he found room for his long legs under the table, 
tucked an extra-size handkerchief inside his collar, ran 
his long fingers through his black hair, waved the waiter 
aside and breathed "Whew!" 

It was at this point that Mr. D'Arcy ordered a repe- 
tition of green corn and iced tea. 

"Well, the hottest city I've ever been in is in Iowa," 
I remarked as I helped my tea to two spoonfuls of pow- 
dered sugar. "In the month of May in Davenport — " 
"Davenport !" exclaimed Mr. Johnson with inter- 
est, "Why, that's where I grew up, in Davenport! Re- 
member the Barryhill property and the little church — 
Trinity church, it was called — across from it? Well, 
my father was pastor of that church and I went to school 
at Kemper Hall, in Davenport. Haven't been back there 
since those days but it was a dandy town, then." 

"And is a dandy town, now," I offered, but it can 
be dreadfully hot." 

"I'm going to visit Davenport, some day," went on 
Mr. Johnson reminiscently. 
"Born there ?" I inquired. 



"No, I was born in Cincinnati in 1876 ; that makes me 
— am I thirty-seven or thirty-eight?" 

"Thirty-seven," I answered doing some rapid cal- 
culation on the table-cloth with the handle of my fork. 

"Well, that's old enough. I lived in Chicago for a 
while, after Davenport; Englewood, they call the sec- 
tion — " 

"Englewood ! Why that's where half of our office 
lives; it's one of those places that George Evans never 
fails to inquire about, asking if it's a town or a disease." 

"It's all right ; I like Englewood," championed Mr. 
Johnson. "My father had the St. Bartholomew pastor- 
ate for a while- — " 

"Across from the Normal college?" 

"That's the one. I was slated for the ministry by 
the family but gave all my time to neighborhood theatri- 
cals. Then, when I was twenty-one a show came along 
that had, as its manager, a friend of my father and I 
persuaded my father to persuade his friend to give me a 
place in the show. So when the company moved on, I 
moved on with it and played Shakespeare and melodrama. 
Then I graduated myself from this company and went 
with James M. Corbett; I was with him for several years. 
After that, I was with a number of companies, Robert 
Mantel's, Marie Wainwright's and Smith Russell's were 
among the number. Then — " 

"Hello Arthur- — when'dye get back?" hurricaned a 
new arrival whom I learned was "Benny;" he is not the 
office boy, his duties are more important. He has charge 
of the switch-board, has general information of every- 
body and everything at the Lubin plant and can tell any- 
body, any day, just what team in either league is going to 
win. 

"Sit down, Benny," invited Mr. D'Arcy as Benny 
seated himself and ordered from soup to orange ice. "If 
you'll excuse me?" said Mr. D'Arcy, finishing his cake 
and hurrying away to his busy desk. Benny's soup and 
my cream arrived together and Mr. Johnson resumed — 

"It's five years since I went into picture work." 

"How did you happen to?" I asked, guessing that 
Arthur Johnson's start was an interesting one. 

"I was looking for a job," confessed Mr. Johnson, 
"and had visited nearly every agency on and off Broad- 
way, but it was during the summer and there was nothing 
to do. Lawrence Griffith, he of the Biograph, was in 
the last agency I called at ; he was looking for a man 
and after I left, told the agent I might do. So they fol- 
lowed me down to the street and Griffith asked me how 
I'd like to work in pictures. It sounded like a joke to 
me, for I had seen only a few pictures, but I was broke 
so asked 'How much?' and Griffith said 'Five dollars a 
day.' 'All right,' I answered, and we started for the 
studio. But when we got as far as the subway, Mr. 
Griffith seemed worried and said he thought I was a 
little too tall. Well, if you can't use me, tell me so be- 
fore we go any further,' I said. 'Come on; we'll try 
you, anyway,' replied Griffith. And I was there for 
about two years. Those were Mary Pickford's early 
days on the screen and we played opposite each other 
until I left." 

"You must 'a' looked like a giant, beside Mary," 
Benny stopped pleasant operations long enough to re- 
mark. 

"I left the Biograph for the Reliance," continued 



100 



MOTOGRAPHY 



Vol. X, No. 3 



Mr. Johnson, "and was there one year. Then I came to 
the Lubin studio and have been here for two years." 

"Do you direct all your own films?" remembering 
that I had heard that he does. 

"Yes ; that's why I like being here so well. But it's 
work, in weather like this," and he removed the extra- 
size handkerchief from his collar and applied it to his 
face. "These five days at Wildwood have been strenu- 
ous ones." 

"What do you do for recreation?" I wondered and 
he replied, "Rest. The only vacation I've had was last 
winter when I had an abscess in my ear and was in bed 
for two weeks." 

"Vacation !" murmured Benny, with disgust in his 
voice and hot corn-bread in his mouth, "I'd like to see 
anybody wish a vacation like that on me." 

"Breathes there a man with soul so brave?" I re- 
flected with my final spoonful of cream. 

"Seen any of Philadelphia?" Mr. Johnson inquired. 
I told him "No" and he said he'd see if one of the Lubin 
cars was at leisure and he'd get up a little sight-seeing 
party. As we left the dining-room, Benny called out, 
"Say, Arthur, how tall are you?" 

"Seventy-three inches," called back Mr. Johnson, as 
he disappeared down the stairway into the studio yard 
to look for an idle car and I went into Mr. D'Arcy's of- 
fice to say good-bye and remove my hat from its resting- 
place on the filing cabinet. 

"They're waitin' for you," announced the voice of 
Benny from his private office outside the publicity room. 
So I hurried downstairs to Mr. Johnson, Florence Hack- 
ett and Howard M. Mitchell and we started. 

The "Phillies'" ball park was a first sight; Mr. 
Mitchell pointed out places of interest on Chestnut street 
and we walked around the Liberty Bell twice before Miss 
Hackett found the beginning of the around-the-bell in- 
scription and somebody else found the end of it and then 
we all did the tour again, for the sake of reading it cor- 
rectly. In the little house sacred to the memory of 
Betsy Ross and the making of the first flag, Mr. Johnson 
had to "low bridge" through each door-way and decided 
that Betsy must have been a very tiny person. 

After viewing historic parliamentary houses, elab- 
orate city buildings, riding through narrow streets and 
wide residential ones, we glimpsed the inconspicuous 
grave of Benjamin Franklin, with its decoration of silken 
stars and stripes. 

Then we rushed for the 4:16 to New York. 




Edison Doings in England 

From England come interesting letters telling of the 
experiences of Miriam Nesbitt and Marc McDermott. 
The fisher folk of Devon and Cornwall have been fur- 
nished several exciting moments by these two players, 
not the least of which occurred when they were caught 
by the famous tides at the foot of the Ball Point Light- 
house and received a thorough ducking before they could 
escape to a safe place above the oncoming water. On 
another occasion the whole fleet of fishing smacks was 
hired and several scenes were taken three miles out at 
sea. Then the wrecked German ship Alma was found 
slowly being battered to pieces by giant waves and the 
camera man, Otto Brantigan, insisted upon being put 
aboard. The natives lined the shore expecting to see him 
and his camera washed overboard, but he succeeded in 
getting the pictures he was after, though drenched to 
the skin. 




MILWAUKEE, Wisconsin, was the birthplace of Charles H. 
Phillips, president of the Wisconsin state branch of the Mo- 
tion Picture Exhibitors League of America. He is a son of a 
former mayor of Milwaukee and a graduate of the University 
of Wisconsin's Law Department. Since 1895 he has been prac- 
ticing law, being associated with 
his son, Joseph, having handled 
all the legislation, both local as 
well as state, pertaining to motion 
picture interests and has been 
very successful in combating ad- 
verse legislation. A little over 
two years ago Mr. Phillips, to- 
gether with his son and Henry 
Imhof, formed a corporation un- 
der the name of the Phillips- 
Imhof Amusement Company and 
built a motion picture theater on 
Milwaukee's north side. This 
house has been highly successful 
and in the fall it is expected sev- 
eral other theaters will be ac- 
quired, and operated by the 
Amusement Company. Mr. Phil- 
lips was one of the prime movers 
in the organization of the Wis- 
consin branch of the League, and 
has been an officer of the bodv 
ever since its inception. He has 
been active as council for both the local and state leagues, and 
was elected president of the state league at it's first meeting, an 
office which he holds up to the present time. The subject of this 
little sketch did much to make the recent Wisconsin state con- 
vention successful and was elected president of the Internation- 
al Motion Picture Association at the recent convention held in 
New York City. At all times standing for only the best in pic- 
tures, it is men of Mr. Phillips' stripe who have brought the 
field of motion pictures to the high level which they today oc- 
cupy. 

F\ URINC- the recent convention of motion picture exhibitors 
LJ in New York City there was one man who was on hand 
for every event. No entertainment was quite complete until he 
appeared and it's a certainty that no visitor to the convention 
or exposition was neglected by the genial fellow, who made it 

his duty to see that everybody 
had a good time. That man was 
Samuel Herman Trigger, presi- 
dent of both the New York State 
and the New York City local or- 
ganizations. His was the one pre- 
dominant figure during conven- 
tion week and it was quite na- 
tural, therefore, that to him 
should fall the task of bringing 
matters to a head when discon- 
tent made itself evident among 
the exhibitors. When the battle 
was all over and the smoke had 
cleared away Mr. Trigger was 
found to be president of the Mo- 
tion Picture Exhibitors' Associa- 
tion of Greater New York. His 
rise to fame has been remarkably 
rapid, for some forty-five years 
ago he might have been discov- 
ered as a Bowery employe. The 
hard knocks he received early in 
life only toughened him for the 
after struggles, however, and all helped to elevate him above his 
fellow men. At the age of twenty he went into the lodging 
house business, and was the first man in New York to put in 
free baths for the unfortunates who are compelled to seek 
lodging in a "flop." Some five years later he became a pawn- 
broker and still retains an interest in a number of such estab- 
lishments, although during the past ten years he has devoted 
the most of his time to his various picture theaters. In fact Mr. 
Trigger claims the unique distinction of having erected the 
first building in New York state for the sole purpose of show- 
ing films. Mr. Trigger was 61, June 2. 




August 9, 1913 



MOTOGRAPHY 



101 



Current Kleine Comment 

The Art of Cines and Eclipse 



IN ORDER to make "The Clown's Revenge," the 
Kleine-Eclipse release for Tuesday, August 19, the 
Eclipse Company rented a stranded circus which 
found itself financially embarassed in Paris. With all the 
paraphernalia of a genuine circus, the costumes, the big 
tents, the animals and whatnot, a splendid two-reel was 




Scene from "The Clown's Revenge," Kleine-Eclipse release. 

made. It is rife with color and that intangible quality 
in pictures called "atmosphere" for want of a better 
name. One realizes instinctively that he is watching a 
real, dyed-in-the-wool circus of the very kind that lured 
so mightily in the by-gone days. The regular Eclipse 
stock company received a week's holiday and spent most 
of its time in watching the efforts of the new thespians. 

A pretty story, with many moments of sensational 
anti-climaxes has been woven from the stranded circus. 
The trapese performers do some very interesting "stunts" 
before the camera and the hero of the story makes his 
daring "leap for life" which finally becomes a "leap to 
death" in the course of the story. 

While rehearsing the performance of the Great In- 
ternational Circus, Gregory and his pretty wife, Lil- 
lian, receive a letter informing them that their little son 
is desperately sick. They hurry to see the child and 
find him suffering with acute meningitis and but little 
hope held out for his recovery. The time is approach- 
ing when they must hurry back to the circus, and with 
leaden hearts, they speed to their dressing-room. While 
Gregory is playing in the big arena, Lillian makes up 
for her act. Tony, one of the clowns who bears a bad 
reputation with his fellow-players, gains entrance to Lil- 
lian's dressing room. 

Tony makes violent love to Lillian and she spurns 
him. Gregory, returning from the ring, finds the two 
together and bitterly upbraids Tony. The latter leaves, 
vowing vengeance. Meanwhile Lillian does her work 
well and returns to her dressing room. Tony, receiving 
news of the child's death, goes straight to Lillian who is 
overcome with grief. 

In the meantime, Gregory is preparing for his fam- 
ous leap for life, a daring run and jump, the big feature 



act of the evening. Tony, with hatred in his heart, goes 
to Gregory just as the latter has gathered himself for 
the jump, and tells him of the death of his child, Greg- 
ory breaks down, the audience begins to howl impatiently 
and the acrobat tries to continue with the act, but his 
nerve has gone. With weakening limbs he makes the 
giant leap into the air and crashes down against the 
boxes. 

The body of Gregory is removed but before dying 
the acrobat denounces Tony and the latter is given up to 
a merited punishment. 



The Business Head of The Ambrosio Co. 

The picture shown herewith is a splendid likeness 
of one of the really powerful figures in the film world, 
yet one but little known in America. Signor A. Gan- 
dolfi is, with Signor Ambrosio, the founder of the world- 
famous Ambrosio Company. Mr. Gandolfi is the man 
who dominates the financial end of the big Torino plant. 
While Ambrosio is the company's real founder and its 
natural head, he leaves the entire financial affairs in Gan- 
dolfi ? s. sole charge. Mr. Gandolfi is a great man mental- 




Signor A. Gandolfi. 



ly and physically. His personality is felt wherever film 
is sold and no one in Europe has a better understanding 
of the complications now facing European film makers, 
than he. 



102 



MOTOGRAPHY 



Vol. X, No. 3 



New Lead For Kleine-Celio Films 

Miss Francesca Bertini is the new leading woman 
of the recently organized Celio Co. of Rome, Italy, whose 
pictures will be released in America by George Kleine. 
Miss Bertini is a chaming miss of twenty-two years and 
is well known to American picture fans. She played 




Francesca Bertini. 

leads with the Cines Company of Rome for some years, 
but has been out of pictures for the past year so her 
friends will be glad to know of her return under the new 
banner of the Celio Company. 

First Edison English Production 

On August 15 the Edison Company will release the 
first of the English productions now being filmed "across 
the pond." This interesting story of smuggling on the 
English channel was taken on the coast of Cornwall, 
England, and is entitled "The Coast Guard's Sister." 
An entire fishing fleet was engaged for the purpose of 
making the smuggling scene and the entire picture is 
played amid the picturesque and beautiful scenes for 
which that part of the English coast is noted. Marc 
MacDermott and Miriam Nesbitt enact the leading roles 
and the production is said to have been done in a really 
extraordinary way. 

Briefly told the story of the picture runs as fol- 
lows: 

When Fay Trevenna accepted George Rowe, and 
Nell Teague simultaneously accepted Captain Moon, 
things were by no means in so delightful a situation as 
might have been expected. For Nell had wanted George 
for herself, and when she saw her case was hopeless, she 



accepted Captain Moon out of sheer pique. 

Captain Moon was old and rich. The engagement 
ring he gave Nell Teague had been sent all the way from 
London, and it was something to be proud of. No won- 
der Fay Trevenna was ashamed of the simple little ring 
her George had given her when she saw Nell's. And 
you may be sure Nell Teague lost no oportunities of 
flaunting the beautiful trinket before Fay. 

Smuggling has always been an irresistible tempta- 
tion to a Cornishman in need of ready money. When 
George found that nothing would please Fay but a ring 
like Nell's, he readily entered into a scheme to run a 
cargo of contraband tobacco across the channel. 

Nell discovered the scheme, and hastily wrote an 
anonymous note to Fay's brother, the captain of the coast 
guards. Pascoe Trevenna read the note to Fay and she, 
instantly suspecting the source of her lover's suddenly 
acquired wealth, locked Pascoe in the guardhouse and, 
disguised in one of his uniforms, ran to warn George. 
As she waited on the beach, she was captured by con- 
federates of the smugglers, but escaped in the nick of 
time and met her lover as he was bringing the first boat- 
load ashore. 

• "Oh, Jarge, Jarge," she cried, "Do'ee think I'd have 
'ee a thief for the likes of I ?" 

Although George would willingly have destroyed 
all the tobacco in the world at a mere word from Fay, 
there was some slight opposition on the part of his smug- 
gling comrades when he set fire to the cargo in obedi- 
ence to his sweetheart's entreaties. While George was 
settling this small difference of opinion with his fists, 
and completing his work of destruction, Fay, still in her 
brother's uniform, led the finally aroused coast guard 
far away from their right destination and then disap- 
peared. 

The next morning George laughingly agreed with 





' "~V **???* 






"9 


t i 

Strt 


r 

■ 








1 







Scene from Edison's "The Coast Guard's Sister," Filmed in England. 

Pascoe Trevenna that the anonymous letter must have 
been a hoax. 

The cast is as follows : 

Fay Trevenna Miriam Nesbitt 

Captain Pascoe Trevenna, of the Coast Guard, her brother... 

Warren Foster 

George Rowe Marc MacDermott 

Nell Teague Winifred Albon 

Captain Moon James LeFre 

Smugglers Frederick Annerley, Edwin Perin 



August 9, 1913 



MOTOGRAPHY 



103 



Who's Who in the Film Game 



Facts and Fancies About a 
You Know or Ought to 



THIS is rather a lifeless, 
listless photograph of 
George Magie. It 
would be unfair to talk 
about this big, broad-shoul- 
dered, vigorous man without telling you that the picture 
was bad. There is no sparkle in his brown eyes ; no 
suggestion of a smile. George Magie is never like that. 
Among film men, probably none have seen more of the 
world and had more of the world's experiences than 
George Magie. And at that he has none of the attri- 
butes of a jack-at-all-trades, nor is he crazy for travel. 



Man 
Know 



George A. 



Magie 



was born in New York City, 



April 5, 1869. He was educated in the public schools 
of New York and in private 
schools of Paris, where he 
graduated as .a mechanical 
engineer. His first engage- 
ment was with the Paris- 
Orleans and Paris-Lyons- 
Mediterranean Railroads as 
mechanical supervisor. After 
qualifying at this occupa- 
tion, his employers sent him 
back to America to study 
railroad conditions here and 
make recommendations for 
the betterment of French 
equipment and facilities. He 
traveled all over America in 
pursuit of this knowledge, 
consuming four mutually 
profitable years. He was 
with the Paris concern near- 
ly eight years. But during 
his American sojourn he 
formed the acquaintance of 
high officials of the Ameri- 
can Car Foundry Company. 
These gentlemen were so 
favorably impressed with 
Mr. Magie's ability that they 
offered and he accepted the 
post of assistant general 
manager. This connection 
eventually took Mr. Magie 
around the world. He has 
credit for having been the 
first American to sell Ameri- 
can railroad equipment to France and Spain and Italy. 
During Magie's association with the American Car 
Foundry Company, a peculiar condition arose. His 
company was shipping cars to Australia on time con- 
tracts; there being a penalty of £1 a week on every car 
delayed, and in the course of time the contract penalties 
amounted to $174,000, which the American Car Foundry 
Company cabled the Australian representatives they 
would be willing to settle for $50,000. The Australian 
railroads refused this offer. Mr. Magie was then com- 
missioned to go over to Australia and straighten the 
matter out. He went first to England, carrying letters 
of credit for $20,000. Here he gave lawn parties, din- 
ners and dances to the various officials of the Australian 
railroads who were then in London. From London he 
went to Australia and offered similar entertainments for 
the railroad officials there, with the result that he col- 




Don't Be Afraid of His Fog-Horn Voice 



lected the entire $174,000. 
The money was deposited 
in forty-eight hours in the 
LaClede Bank at St. Louis, 
and Mr. Magie was the re- 
cipient of a sixteen word cablegram from his company, 
costing $3 a word, which conveyed congratulations over 
his success. This cablegram is one of his most prized 
possessions. 

From Australia he went to China, the Philippines, 
Japan, Korea and Manchuria, taking ship from Hong 
Kong to Vancouver, B. C. While he was en route he 
was the only American on board. In the athletic con- 
tests which were held on board ship he felt it necessary 

to uphold the honor of the 
Americans, which made him 
work very hard. At one of 
the feats, the spar contest 
so-called, the contestants are 
seated astride a ten-foot 
spar in a tank of water, each 
armed with a pillow. The 
man who is thrown three 
times from his seat being the 
loser. Magie won this con- 
test and still has a valuable 
pipe which was the prize. 
At this time he weighed 
about 240 pounds. Un- 
known to himself at . the 
time, he was injured in this 
contest. After several 
months of medical care he 
developed rheumatism and 
went to a sanitarium at Mt. 
Clemens, Michigan, where 
he partially regained his 
health. Being still unable 
to perform his duties, he 
was retained by his com- 
pany, who told him to 
travel and get well, so he 
journeyed to Texas, where 
he put in some time as a cow 
puncher. Tiring of this, he 
went prospecting for gold in 
Colorado. For over two 
years he thus roamed 
around, enjoying an outdoor 
life in the effort to completely regain his health, doing 
no work for his company, but still being considered in 
its employ. Quite by accident a medical examination 
disclosed that one of the lower vertebra of his spine had 
been dislocated in that spar contest, which was primarily 
the cause of his illness. This dislocation was corrected 
and he has enjoyed perfect health ever since. 

After his resignation from the car company, he 
found difficulty in becoming interested in other work. It 
was during a temporary stay in New York that a pro- 
posal was made to Magie, asking him to put up $100 to 
finance an industrial motion picture which would sell at 
$800. The scheme failed, but it was the teaser that 
dragged Magie into the film game. In 1908 he became 
an importer of films. His familiarity with languages 
was his chief asset. He could talk to 'em. Importing 
films proved profitable. After a while he was stock- 



104 



MOTOGRAPHY 



Vol. X, No. 3 



holder in the American Chronophone Company, and here 
it was that he met Herbert Blache. A friendship was 
formed that still endures. Magie talks French like a 
native. In 1910, at Magie's suggestion, the Solax Com- 
pany was formed and until the formation of the Pilot 
Film Corporation, Mr. Magie was responsible for the 
Solax sales. When he left Solax to devote his full time 
to the Pilot brand, his friends concluded that George 
Magie had arrived, but now he has assumed an impor- 
tant place as J. C. Graham's right hand man in the Uni- 
versal. It is understood that his interests with Solax 
and Pilot are still retained. 

George A. Magie was married in 1900. His wife 
was a Virginian — directly descended from Franklin 
Pierce, sixth president of the United States. He has 
one daughter, a charming young woman who pals with 
her father in his recreations. All hard working men 
have hobbies. Magie dotes on golf. He learned the 
game on its native heath — Scotland. As a conse- 
quence his particular club is Parkhill Country, where 
he may be found when you give it up as a bad job. 

As the special representative to the exchanges and 
exhibiting interests of the Universal Company, you will 
meet George A. Magie face to face very shortly. Don't 
be afraid of his fog-horn voice ! That is the only thing 
about George Magie that isn't gentle. He expects to 
have it tuned up when he finds an idle moment. 



Puzzle — Find Alan Hale 

While playing a scene in "The Silly Sex" Rosemary 
Theby of the Reliance was compelled to row out on 
Long Island Sound and allow her small boat to be 
swamped while she floundered about the water calling 
for help. Of course the director and camera man were 
close at hand in a launch, but the water was deep and 




very cold and the expression of alarm on Miss Theby's 
face is far from being studied. In fact Alan Hale had to 
go to her rescue at the eleventh hour and was swimming 
around just beneath the surface of the water while the 
picture was being taken. In the photograph Miss Theby 
has her hand on Mr. Hale's head with a rather strenu- 
ous grip on his hair. 



New Reliance Studio 

The Pines, the home of Clara Morris, the well- 
known actress, has been purchased by the Reliance Mov- 
ing Picture Company as the site for its new studio. The 
estate, which was saved to her through the formation of 
a holding company that raised the money which pre- 
vented the foreclosure of the mortgage, comprises about 
four acres of high ground, overlooking the Hudson Riv- 
er at Two Hundred and Sixty-second street, New York- 



City. The line dividing Yonkers from Manhattan passes 
through the grounds and will cut the stage of the new 
studio, so that it will be possible for a Reliance actor in 
New York to play a scene with an actor in Yonkers with- 
out any trouble. In addition to the regular studio, which 
will accomodate several stage sets at the same time, a 




Scene from "The Silly Sex." Reliance release of Aug. 6. 

large open air studio will be erected, with the idea of 
gaining scenic effects not possible on an ordinary stage. 
Work on the new plant will be rushed so that it can be 
put into complete operation at an early date. 



Withdrawal Approved 

At a special meeting of the Motion Picture Exhibi- 
tors' Association of Greater New York, held at the 
Union Square Hotel, on Tuesday, July 22, after strong 
denunciation of state censorship as advocated by the 
president of the Motion Picture Exhibitors' League of 
America, and his refusal to submit a detailed account of 
the expenditures of the League's money during the past 
year, the following resolution was unanimously adopted : 

Motion made and seconded that the New York local hereby 
endorse the action of the New York state delegates to the late 
National Convention at the Grand Central Palace in withdraw- 
ing from the Motion Picture Exhibitors' League of America 
and affiliating with the International Motion Picture Association. 
Carried unanimously. 

Similar action has already been taken by several 
of the other New York state locals and a convention will 
shortly be held at which the Motion Picture Exhibitors' 
Association of the state of New York, in accordance with 
the resolutions of all of its locals will officially withdraw 
from the Motion Picture Exhibitors' League of Amer- 
ica and affiliate with the International Motion Picture 
Association. 

The officers of the New York local are as follows: 
president, Samuel H. Trigger; vice-president, J. A. 
Koerpel ; treasurer, Grant W. Anson ; secretary, H. W. 
Rosenthal; financial secretary, Adolph Bauerenfreund; 
sergeant-afc-arms, Robert C. Whitten ; counsel, W. B. F. 
Rogers. 



A Weekly Multiple Reel 

The Essanay Film Manufacturing Company an- 
nounces that it will release every Friday a special mul- 
tiple reel attraction in place of the regular single reel 
subject, commencing with Friday, August 15. 



August 9, 1913 



MOTOGRAPHY 



105 



Current Educational Releases 



Denizens of the Deep. — Patheplay. The com- 
monest articles hold a lesson for us if they are only pre- 
sented from the proper angle. Lobsters and crabs, for 
instance. These shell fish are so common that their in- 
teresting peculiarities have probably escaped the atten- 
tion of the public. This film, therefore, has a message 
for every person for it treats the catching and handling 
of lobsters and crabs in a manner that covers the sub- 
ject thoroughly from an educational standpoint and with 
the maximum of entertainment. 



55 bolts are required. After fusion at a temperature 
of 3,000 degrees, the cast substance is run into a melting- 
pot and plunged in cold water. Enormous compression 
causes instant solidification of the cast metal and the car- 
bon assumes crystalline form. 

Successive baths in various acids dissolve the mass 
and liberate the diamonds. After several weeks, the 
continued treatment terminates in a final cleansing bath 
of menthylated fluid treated with iodine, and at last the 
jewels are free. 



Coffee Industry in Jamaica. — Lubin. An inter- 
esting educational picture, showing cultivating, gathering, 
drying, packing and shipping of the coffee berry. The 
work is all done by the natives, who seem to enjoy their 
job. They work very rapidly and wear little beyond the 
perpetual smile which is noticeable in the negro race. 
Everything in life is a joke and so is coffee. The pic- 
tures were taken on one of the largest plantations in Ja- 
maica and have faithfully photographed not only the in- 
dustry, but the interesting atmosphere of the West In- 
dies. 



Port of Marseilles (France). — Patheplay. A de- 
lightful tour of this quiet but very busy little French 
port, replete with scenes which have made the famous 
paintings of the Old Masters. 



The Snowy Egret and Its Extermination. — 
Patheplay. A new type of picture known as the editorial 
film ! It is powerful true, gripping, beautiful and pa- 
thetic. It tells, graphically, the story of the cruel pro- 
cedure necessary to secure the egret used by milliners for 
the fancy trimming of hats ; how the egret is obtainable 
only during the breeding season of the snowy heron, or 
snowy egret, and how, with the killing of the father and 
mother bird, there being no way to feed them, the fledg- 
lings are left alone to die. Do not make the mistake of 
believing the film disagreeable! It is only a statement 
of plain facts, but, nevertheless, a masterpiece that will 
sweep the country with a wave of sympathetic under- 
standing of the plight of the birds that will result in nec- 
essary national legislation. Book this film ! Your wom- 
en patrons, will thank you for acquainting them with 
true conditions. 



How Diamonds are Made. — Eclair. The diamond 
most brilliant of jewels, is, like coal, a piece of pure 
carbon, except of a different crystallization. 

At last the production of artificial diamonds has 
been achieved by the French scientist, Moissan, but the 
resulting jewels are so small that it is impossible to set 
them, their dimensions being but one-tenth of a milli- 
meter. 

To produce them, terrific heat is brought to bear on 
carbon of sugar : 600 amperes intensity and a tension of 



Japanese Gardens. — Eclair. The Japanese stand 
pre-eminent as decorators in the history of the world. 
With them the art of decoration is a part of their daily 
religion. Chief among the curious yet beautiful things 
they cultivate, are miniature gardens. Most of tis have 
seen specimens of the dwarf trees which, although per- 
haps a century old, do not exceed a foot in height, still 
are perfect in shape, foliage and coloring. American 
fashionables, appreciating the quaint beauty of these mar- 




Scene taken at the plant of the Vitagraph Company of America on "Vitagraph Day," Friday, July 11, during the recent convention in New York. 



106 



MOTOGRAPHY 



Vol. X, No. 3 



vellous plants, employ them for banquet decorations, 
and within the compass of an ordinary dish-pan they 
may have a perfect reproduction in miniature of the love- 
ly trees, bridges, waterways, rockeries and tea-houses 




Scene from Essanay's "The Power of Conscience," featuring Francis X. 

Bushman. 

which make the Japanese garden a triumph of landscape 
designing. 



Jiu Jitsu. — Patheplay. An art which, for effective- 
ly forestalling the attacks of armed marauders, is un- 
excelled. An expert demonstrates the innumerable holds 
obtainable and he and his assistants go through the per- 
formance slowly so that all who see may know and un- 
derstand. The film has the delightful thrill that pos- 
sesses us when we witness any contest of skill, particular- 
ly delightful when right triumphs over wrong. An edu- 
cational picture that deals with a rarely treated but very 
necessary branch of education. 



Historic Savannah, Georgia. — Kalem. This visit 
to the famous southern city, Savannah, Georgia, proves 
an interesting one indeed. We see the mansion at the 
Hermitage, owned by the McAlpin family since 1819, 
and the old slave huts; Fort Oglethorpe; revolutionary 
guns, buriied during the Revolution and resurrected in 
Civil War times ; the old hospital destroyed by Sherman 
in 1864; Christ Church, the original Sunday school of 
John Wesley — the home of Methodism ; Sherman's head- 
quarters on his famous march to the sea ; St. John's 
Church, where President Wilson was married; the ship- 
ping of cotton and many other interesting sights. 



The Making of Tapestry. — Gaumont. This series 
of pictures was taken in one of the largest establishments 
at Tours, the great textile centre of France, and gives 
an interesting description of the processes employed in 
present-day manufacture of tapestry. The design to be 
embroidered is first planned on paper and afterwards 
reproduced on a material by perforation. The subject 
is then cut out and stuck on a carpet or other foundation, 
and the design embroidered by machinery. The making 
of the tasseled fringe, which is sewn around carpets, is 
also illustrated, and the film ends showing the great 
shuttle machines at work. 



vail on the Dutch East Indian Island of Java. No- 
were in the world are dances just like them to be 
seen. They are motion to rhythm, and as such are unique 
and novel. They are performed by skilled professionals 
in the art of Javanese symbolic dancing. First is the 
quadruple "Tanda," a dance principally of the arms, but 
graceful and interesting. 

Next comes the dance of the "Abduction of the Prin- 
cess," in which the Princess, being repulsed by the 
haughty Black Knight, takes to arms. There comes to 
her defense the chivalrous White Knight and the long- 
haired God of the Mountains, but both being defeated, 
the haughty Black Knight claims the Princess as his 
prize. She, having been once repulsed, now refuses, and 
the Black Knight attempts to obtain her by force. The 
White Knight comes once more to the rescue, has a set- 
to with the Black Knight, wherein he proves himself 
victor, and wins the Princess as wife. The "Kitihog- 
ing," or Monkey Dance; the "Tjetilan," or Horse Dance; 
and characteristic dances by a company of road dancers 
who travel from town to town throughout Java, are in- 
teresting features on this reel. 



The Island of Tonga. — Patheplay. This little gem 
in the Pacific Ocean is the only independent monarchy 
left in the South Sea Islands. This picture gives us many 
interesting views of the life here in all its simplicity. The 
natives are very hospitable ; they were warlike at one 
time, but now follow peaceful pursuits. The old town 
dances, the manners and customs of the people, the way 
they live and the many interesting sidelights are all 
shown. 



Opportunity and a Million Acres. — Patheplay. 
This picture is fascinating in its exposition of the vast 
possibilities of the enormous tract of land in Harney 
County, Oregon. The Central Oregon Railroad con- 
structed by Mr. J. J. Hill, the Empire builder, to tap 
the fertile valleys of Oregon, has its terminus 150 miles 
away from this beautiful valley shown in the film. Home- 
steaders trailing in with old fashioned prairie schooners 
and taking up their homesteads are shown as are many 




Javanese Dances. — Melies. A highly interesting 
and instructive reel of the odd, symbolic dances that pre- 



Scene from Essanay's "Rescuing Dave." 

views of the great waterway of Harney County, the Ir- 
rigation Canal which took 15 years to build and will 
make it possible for 20,000 families to live here and get 
rich. 



August 9, 1913 



MOTOGRAPHY 



107 



Of Interest to the Trade 



The House of Gaumont 

At the recent Exposition of the Motion Picture Art, 
held in New York City, exhibitors from all over the 
country obtained a better insight into the industry with 
which they are connected 
than the majority of them 
had ever enjoyed before. 
This was, probably, espe- 
cially true with respect to 
the Gaumont Company 
and its many plants scat- 
tered throughout various 
portions of the world, for 
a neat little eight-page 
booklet was distributed at 
the Exposition in which 
views of the huge plant at 
Paris, France, both in- 
teriors and exteriors, as 
well as the factory at 
Flushing, New York, ap- 
peared, together with a 
brief resume of the accom- 
plishments of the House of 
Gaumont since its very in- 
ception. 

The matter in this 
little booklet made it plain 
that Leon Gaumont has 
been engaged in the pro- 
duction of motion picture 
film in Paris for more than 
twenty years and that the well known Societe des Etab- 
lissements Gaumont in that city has grown in that period 
from one small building, until today it covers four city 
blocks and employs more than two thousand people. 
This Parisian plant is only one of the five large factories 
owned by the same company, three of which are located 
in Europe, one in Flushing, New York, and the fifth in 
Australia. 

The house of Gaumont lays claim to having intro- 
duced the first motion picture projecting machine ever 
exhibited in America, as well as the first talking pictures 
and the first feature films. More recently Leon Gau- 



mont exhibited in New York the first of a series of three- 
color animated color pictures, and more of these films, 
it is expected, will shortly be shown in American thea- 
ters. 

Each week the Gaumont firm releases four regular 





Projecting Machine Shr 



View of the Gaumont Plant in Paris, France. 



subjects in America, two of these, those of Tuesday and 
Thursday release dates, are similar to other standard re- 
leases, while the Wednesday release is a topical or cur- 
rent events film, known as the Gaumont Weekly. It is 
produced in connection with the Gaumont Graphic of 
London and the Gaumont Actualities of Paris. These 
three film publications have effected a plan of exchange 
of negative which enables each of the releases to keep 
strictly abreast of the times. Several, of what in news- 
paper parlance would be known as "scoops," stand to 
the credit of these Gaumont topicals. 

The Saturday Gaumont release is an educational 
film devoted to scientific or industrial subjects. The 
famous French manufacturer has long made a specialty 
of microscopic work in connection with motography and 
has produced many thousands of feet of film covering the 
most minute animal and organic life. These and other 
unusual ideas are seen in the Gaumont educationals. 

The features of the Gaumont company were first 
produced over five years ago as a series of biblical stor- 
ies running from three to five reels in length, but, with 
the growing demand on the part of the public for dramat- 
ic films of more than one thousand feet in length, the 
Gaumont producers began to release not only subjects of 
a thrilling and sensational character which occupy from 
three to four reels, but even went further and originated 
the continued story type of film. Such a series was 
based on the adventures of "The White Glove Band," 
who were members of a criminal fraternity much sought 
by the police. Each subject of the series was complete 
in two or more reels, but other subjects gave further ad- 
ventures of the same characters introduced in former 



io: 



MOTOGRAPHY 



Vol. X, No. 3 



pictures, thus keeping up the interest of the public over 
a long period of time. 

Within the past few weeks a new and similar series 
of films has been announced, this series being based on 




Mounting Room in Gaumont Plant. 

the contest of wits between a criminal known as "Fan- 
tomas" and a famous Parisian detective. The first pic- 
ture of the series is called "Fantomas Under the Shadow 
of the Guillotine." 



Explosion Seriously Injures Ryno Director 

Jack Noble, he who put the "no" in Ryno, met 
with a serious accident on July 25 while directing the 
taking of a picture that called for 400 people. Mr. 
Noble had lighted a fuse which was scheduled to blow 
up a block house, twenty minutes later. But the wind 
drove the spark along the fuse quicker than had been 
anticipated and when the explosion occurred Mr. Noble 



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Scene from "Mona." Nestor. 



was standing near the barrel of gun-powder directing 
the final details of the setting. Roscoe his assistant and 
Williams, the photographer, were but a short distance 
from him and the three men were shot into the air. Mr. 
Noble's clothes were afire when he came down and be- 



fore the fire could be extinguished, he was badly burned. 
Roscoe and Williams were burned also but their injuries 
were much slighter; they were taken to their homes in 
City Island but an ambulance took Mr. Noble seven miles 
to Fordham hospital, where his condition was pro- 
nounced serious. 



In Defense of Features 

The following offhand statement regarding multi- 
ple reel productions recently made its way into print : 
"A great influx of cheap, flashy features is sure to be 
one of the developments of the motion picture enter- 
tainment this fall when the price for features, as we 
now know them, will slump with the production of great 
feature masterpieces which are to be an incident of the 
1913-1914 theatrical season." 

A. Warner, president of Warner's Feature Film 
Company takes exception to this statement and writes 







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Scene from "The Death Stone of India," Bison. 

Motography as follows in defense of the three reel pic- 
tures : 

This is a remarkably broad statement, and one that the 
trend of events scarcely justifies. When the first feature films 
appeared upon the market a few years ago. they did not meet 
with a favorable reception, for the very good reason that ex- 
hibitors had not been educated up to that appreciation of feature 
productions which they now hold. Consequently, prices obtained 
for them were nothing extraordinary. Practically every feature 
offered to exhibitors a year and a half ago was from the Euro- 
pean market, and this condition existed until Warner's Feature 
Film Company began to supply the growing demand with 
American made films in three reels. The excellent reputation of 
Warner's Features can be traced directly to the high standard 
of excellence which they have attained through the lavish ex- 
penditure of money, and the infinite care with which the scen- 
arios have been selected. 

There is certainly no good reason why producers of War- 
ner's Features or of any other brand for that matter, should 
begin to cheapen their output simply because a number of 
theatrical stars have been engaged to portray their famous stage 
characters on the screen. On the contrary, it would seem rea- 
sonable to suppose that from this time on the three-reel features 
will be more elaborately staged than ever, owing to the in- 
creased competition. And, furthermore, it takes genuine ability 
to portray emotions and roles upon the screen. Some miserable 
failures in film productions have been recorded in the past 
by theatrical producers who believed that all that was necessary 
to make pictures was to have a star. 

It remains to be seen whether the film productions of the 
1913-1914 theatrical season will be classed as masterpieces. What- 
ever the critic who wrote bis frank opinion of feature produc- 
tions had in mind, his opinion certainly cannot be extended so 
as to include such producers as Warner's Feature Film Com- 
pany and the others who have earned the right to speak of their 
three-reel pictures as features. 



August 9, 1913 



MOTOGRAPHY 



109 



Industrial Film Popular 

Charles D. Heller, advertising manager for Marshall 
Field & Company, wholesale, recently returned from a 
six weeks' trip through Iowa, Missouri, Arkansas, Okla- 
homa, Nebraska and Kansas. During this trip, Mr. Hel- 
ler gave eighteen exhibitions of the moving pictures 
which were produced by the Essanay Film Manufactur- 
ing Company under the personal direction of Mr. Charles 
F. Stark, manager commercial department, about a year 
ago, to show different processes of manufacture of tex- 




Scene from "The Doctor's Dilemma." Reliance release of Aug. 4. 

tile products owned and controlled by Field & Company. 
These pictures were made primarily for the instruction 
of Marshall Field & Company's employes, but they have 
since come into wider use and have been exhibited in dif- 
ferent parts of the country under the auspices of local 
retailers who have been anxious to give their salespeople 
and townsfolk the opportunity of seeing this unique ex- 
hibit. 

Mr. Heller's itinerary includes six towns in Iowa 
(Osage, St. Ausgar, Cedar Falls, Hampton, New Lon- 
don and Wapello); Brookfield, Mo.; Oklahoma City, 
Okla. ; Little Rock, Fordyce and El Dora in Arkansas ; 
Hutchinson and Harrington in Kansas ; Beatrice, Hol- 
drege, Seward and Wayne in Nebraska. 

At Oklahoma City, the moving picture exhibit was 
held in conjunction with a convention of Marshall Field 
& Company's traveling men, which occupied the entire 
tenth floor of the Skirvin Hotel. The moving picture 
show was held in the banquet hall, and was attended by 
a large number of merchants and their employes. At 
Hutchinson, Kansas, the exhibit was given in the big 
convention hall, and an audience of 4,000 people greeted 
Mr. Heller. 

Mr. Heller is very enthusiastic over the success of 
the trip. "We have demonstrated that this moving pic- 
ture entertainment is a splendid thing for the merchant," 
he said. "It raises him to the rank of an educator and 
shows the people of his community that he is a man of 
broad outlook and must keep in touch with the leading 
markets and manufacturing centers in order to serve 
the best interests of his trade. The exhibition is educa- 
tional in the highest degree, and the advertising feature 
is kept in the background, and is not in the least ob- 
trusive. The entertainment takes up nearly two hours' 
time, as there are over 6,000 feet of film to be run 
through the machine. The exhibits were well attended 
and at practically every entertainment we turned people 
away." 



Mr. Heller is being flooded with requests for the ex- 
hibit from schools, advertising and commercial clubs, 
and merchants. In the near future, the exhibit will be 
sent to the dozen or more public schools in the North 
Shore suburbs. 



George Kleine To Use Broadway Stars 

Theatrical and motion picture circles in the east 
have been much interested in the report that George 
Klein contemplates using certain famous Broadway stars 
in his multiple reel importations. This information has 
give rise to erroneous reports of Mr. Kleine again enter- 
ing the manufacturing business. Mr. Kleine has no in- 
tention of erecting studios and releasing pictures in the 
usual way, but does expect to take American stage favor- 
ites to France and Italy to play leads in his big film 
creations. Announcement of his definite plans will be 
made in the near future. 



Mutual Offices Moved 

The Mutual Film Corporation, now located at 60 
Wall street, New York City, is about to move its general 
offices to the fourteenth floor of the Masonic Temple 
building, Twenty-third street and Sixth avenue. It will 
also have space on the ground floor for the purchasing 
agent, J. N. Naulty, formerly of the General Film Com- 
pany, and later of the Kinetograph Company, who has 
been appointed purchasing agent for the Mutual. Among 
other things, the Mutual will have a handsome exhibition 
room in its new quarters, and the Empire Exchange will 

be located there. 
i 

Magie Goes To Universal 

George A. Magie, until recently sales manager for 
Pilot films, has been selected to fill the newly created 
position of "special representative to the exchange ex- 
hibiting interests" with the Universal Film Manufactur- 
ing Company of 1600 Broadway. In this position Mr. 
Magie will travel, visiting exchange men and explaining 
to them different phases of the motion picture business, 
boosting the Universal programme. 



"William Tell" In Kinemacolor 

The sober citizens of Interlaken, in the Bernese 
Alps, were startled recently by the appearance in their 
midst of two brakeloads of wild-looking men, attired in 
picturesque mediaeval costumes and armed with battle 



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Scene from Edison's "The Coast Guard's Sister," Filmed in England. 



110 



MOTOGRAPHY 



Vol. X, No. 3 



axes and clubs of fearsome aspect. It was not, how- 
ever, an invasion by some mountain tribe, emerging 
from its remote stronghold after centuries of seclusion; 
it was only the ubiquitous Kinemacolor man at work. 
The Kinemacolor Company arranged to make a perma- 
nent record of the unique pastoral play of "William 
Tell" produced by the Interlakeners, and the work had 
been carried out by representatives of the firm under the 
expert direction of Mr. J. de Frenes, F. R. G. S. Sev- 
eral of the scenes were cinematographed on the wonder- 
ful pastoral stage itself, but for others the company had 
to be transported to "fresh woods and pastures new." 
This was the case in the Rutli scene, for which a beauti- 
ful natural setting was found high up in Rugen Park. 



"The Sleeping Beauty" 

A rather odd and unusual little story forms the 
theme for the first release of Venus Features, entitled 
"The Sleeping Beauty." Director Matthews has chosen 
for this first production a fairy story laid in a mythical 
kingdom. The king and queen are celebrating the birth 
of a beautiful baby daughter — so beautiful in fact that 
her parents have named her Beauty. Heralds are sent to 
all parts of the kingdom to announce the christening of 
the baby girl and when the great day arrives all those 
who have been invited come forward with their gifts. 
An old witch, who had been neglected when the invita- 
tions were given, seeks revenge by declaring that when 
the baby becomes sixteen years of age she will prick her 
finger with a needle and die. Fairy Sunbeam asserts, 
however, that the needle prick will only cause the prin- 
cess to sleep for a hundred years. Though the greatest 
care is taken to protect the little princess on her sixteenth 
birthday, the witch produces a magic spindle and on 
the needle of this the princess pricks her finger and, 
straightway, falls asleep. A hundred years pass and 
then a prince from a neighboring kingdom appears, dis- 
covers the beautiful princess asleep, and kisses her. At 
the touch of his lips she awakens and then the two are 
married and live happily ever afterwards. 

The cast is as follows : 

Beauty Elsie Albert 

The King Gordon Sackville 

The Queen Margaret Mattox 

The Prince Allan Forrest 

The Witch Margaret Wells 

King's Counselor Charles Manley 

Fairy Sunbeam Baby Early 

Herald Charles Bertram 

Jester Joe Burke 



Features Only For Ramo 

Announcement is made that in the future Ramo 
will release multiple reel features exclusively. This 
change in policy is said to have been decided upon at 
the suggestion of C. Lang Cobb, Jr., Ramo's manager 
of sales and publicity, as a result of the increasing de- 
mand for feature subjects. The first production is now 
under way and will be rapidly followed by other and 
still more thrilling subjects. 



Eastman to Enter Field 

The Eastman Kodak Company is said to have pur- 
chased the American rights of the color photography 
process invented and owned by The Gaumont Company 
of Paris. The process is the result of several years' ex- 
perimentation. The ( iaumont pictures are made by three 
Separate exposures, the negatives of which are combined 
in such a way as to make a picture in natural colors. 



Florence Lawrence Returns 

Harry Salter, director, and Florence Lawrence, 
popular leading woman, who have been absent from pic- 
tures since last fall, to the sincere regret of many fol- 
lowers of the screen drama, have been engaged by the 
Universal Company to take the foremost part in the pro- 
duction of the Victor brand of pictures. It is a strong 
combination, which may be relied upon to produce excel- 
lent results. 



Illinois Withdrawal Endorsed 

At the regular meeting of the Chicago branch of the 
International Motion Picture Association, held in Royal 
League Hall of the Masonic Temple on Monday, July 21, 
the reports of the delegates to the recent national con- 
vention of the Motion Picture Exhibitors' League of 
America were heard and the action of the Illinois delega- 
tion in withdrawing from the League, to assist in form- 
ing the new association, was unanimously endorsed. 




Scene from "The Death Stone of India," Bison. 

The meeting was one of the best attended that has 
occurred in some time and all members were highly en- 
thusiastic. When announcement was made of the fact 
that the International Association had passed a resolution 
limiting the program of theaters charging an admission 
of but five cents, to three reels, the assembled members 
broke into cheers, for this was one of the chief planks 
which the Chicago delegation wished to see adopted at 
the national convention, and all delegates were instructed 
to work for the limitation of shows to three reels. 



Edison's version of the "Tied Piper of Hamlin," 
shortly to be announced, is one of the biggest spectacles 
that has been produced. For this film a village was 
actually constructed and four hundred people were used. 
Herberl Trior, as the piper, does a perfect hit of char- 
acter work. 



August 9. 1913 



MOTOGRAPHY 



111 



Change in Majestic System 

This week a change is made in the New Majestic 
scenario system. Under the old plan, some scenarios 
were purchased by a New Majestic reader in the busi- 
ness offices at New Rochelle, and others by the direc- 
tors at the Brooklyn Heights studio, Los Angeles. This 
week Mr. Philip Lonergan, former assistant editor of the 
Thanhouser Company, arrives at Los Angeles to become 
sole scenario editor for New Majestic and either write 
or purchase all their scripts. Producing Manager Hite 
decided that it would be better to put the scenario work 
under one responsible head, located right at the center 
of production. A miniature theater has been added to 
the New Majestic studios at Brooklyn Heights. How- 
ard Davies, who created the "Fatty" series of films, has 
joined the acting forces. 



Then the leading players who didn't get feature- 
subject assignments were told they'd be remembered 
quicker than they thought. For Mr. Hite is such a nice 
boss. He'd never slight nobody. 



Get Feature Assignments 

There was much joy at the Thanhouser studio re- 
cently when President Hite announced an extra lot of 
new features and assigned the "leads" for some of them. 
Two of the multiple reelers were for Maud Fealy, "Lit- 
tle Dorrit" and "Moths." 

Flo La Badie was assigned to "The Ward of the 
King," an historical drama. 
j So was James Cruze. 

William Russell was named for "The Missing Wit- 
ness," an extra-reel, extra-thrill drama. It's about an 
important witness who shows up at the eleventh-and-a- 
half hour. 



Feist to Tour Southwest 

Felix Feist, author of "If Time Was Money, I'd 
Be a Millionaire," and many other popular songs, who 
has since devoted his talents and enthusiasm to exploit- 
ing Kinemacolor, will make an extended tour through 
the southwest in the interests of the natural color motion 
pictures. The recent motion picture exposition resulted 
in so many applications for Kinemacolor service from 
that section of the country that it became necessary to es- 
tablish a new distributing station for prompt film service. 
Mr. Feist will open an office in Kansas City, and thence 
tour Missouri, Kansas, Nebraska, Colorado, Oklahoma, 
Arkansas and Texas, inspecting theaters and installing 
Kinemacolor service in those states. 



Miss La Badie Loses Limp 

Flo La Badie, of the Thanhouser players, is get- 
ting around again without limping. The limp was caused 
through an accident she sustained to her knee at the 
Motion Picture Exposition. On Wednesday night of 
the show a Thanhouser reception was held in the Mu- 
tual booth and Miss La Badie took her stand in the left 
hand corner to aid in the distribution of the canes and 
fans that were the souvenirs of the evening. The crowds 
became so thick and vigorous that the fire authorities 




"The Toils of Deception," Selig release of Aug. 15. 



112 



MOTOGRAPHY 



Vol. X, No. 3 




'The Man In the Street," Selig release of Aug. 28. 



at the Exposition had to order the souvenir distribution 
stopped and the aisle cleared. Before the order could be 
carried out, however, the mob broke the rail in front of 
the booth and it fell on her, causing a few bruises and 
the limp. It is now Miss La Badie's idea that the film 
actress is in danger at ordinary expositions even as she 
is in moving picture rescue scenes. 



Prison Labor Story for Reliance 

J. V. Ritchey has succeeded in interesting another 
well-known author in writing dramas especially for pic- 
ture production. On August 9, the Reliance Company 
will present in two reels a drama entitled "The Fight 
for Right," from the pen of James Oppenheim. The 
story deals with an interesting phase of the prison labor 
problem and demanded considerable careful preparation 
before it could be staged. Several authorities on prison 
labor had read the scenario and given valuable sugges- 
tions before Director Oscar C. Apfel was satisfied to 
proceed with the production. The result of Director Ap- 
fel's labors is a feature which bids fair to rival "Half a 
Chance," the recent Reliance drama by Frederick Isham. 

Increasing Capitalization 

The Commercial Motion Pictures Company, of 102 
West One Hundred and First street, New York City, is 
increasing its capitalization to $100,000, owing to the 
natural growth of its business. A limited amount of the 
new stock is open for subscription we are advised by 
Edward M. Roskam, president of the company. 



Edison Two-Reel Every Friday 

The Edison Company announces, that beginning Fri- 
day, August 22, there will be a two-reel Edison release 
every Friday in place of the present single reel. The 
first of these multiple reel releases is "The Gold Bag," a 
detective story by Carolyn Wells. 

We have the assurance of the Edison Company that 
their high standard of quality will be maintained and 
that these multiple reels will be something of a distinct- 
ly high class character. 

Kirkwood to Biograph 

James Kirkwood, who as director of Victor pro- 
ductions, has turned out some of the best pictures re- 
leased by the Universal Company, has been engaged by 
the Biograph Company. Accompanying Mr. Kirkwood 
from the Victor to the Biograph Company is Gertrude 
Robinson, the accomplished actress, who has been fea- 
tured in Victor films. 



The following notice has been posted at the "Flying 
A" studio, which nearly tells its own story: "All of the 
bolos and spears used in 'For the Flag' are poisoned, so 
be careful how you handle them." 

"For the Flag" is a two-reel play written by Director 
Lorimer Johnston. The bolos and spears are the prop- 
erty of Commodore James H. Bull and have seen actual 
warfare in the islands. They will be used in a battle be- 
tween American soldiers and Filipinos, and many people 



are being used. 



Special costumes have been secured. 



August 9, 1913 



MOTOGRAPHY 



113 



Brevities of the Business 




PERSONAL NOTES. 
C R. PEARSON is the busy manager of the General Film 
*-> • Company's branch at Omaha, Nebraska, and to see him 
today one would never imagine that he hadn't been in the film 
game all his life. Born and raised in Nebraska, where his father 
still owns and operates one of the best equipped farms in the 
state, E. R. spent his boyhood 
days attending school and col- 
lege. At 17 he went to work for 
L. A. Kinney & Company, of 
Hastings, Neb., as a bookkeeper. 
He was successively floorman, 
credit man, sales manager and 
traveling solicitor for this firm 
and was afterwards employed by 
the Cudahy Packing Company of 
Omaha, the Simmons Hardware 
Company of St. Louis, the U. P. 
Railroad Company, and H. P. 
Law and J. Granger & Company, 
of Lincoln, Neb. For more than 
a year he was manager of a stock 
and bond and grain brokerage of- 
fice, and then struck out for him- 
self with a patented method of 
paper manufacture. This new 
line, while a failure financially, 
added a great deal to Mr. Pear- 
son's experience and he has never 
regretted the attempt. In 1911 
E. R. induced Miss Emma Braasch of Norfolk, Neb., to change 
her name to Pearson and soon thereafter entered the employ 
of the General Film Company as a solicitor. His perseverance 
was rewarded and in June of 1912 he was made manager of the 
Omaha office. He is a member of the M. W. A., the Commer- 
cial Club of Omaha, and the Ak-Sar-Ben. Twenty-nine years 
of age and a hustler in every sense of the word, there seems 
every reason to expect that Mr. Pearson will rise much higher 
in the picture field as the years roll by. 

A. J. Xydias of Houston, Texas, has purchased the. rights 
on "The Shadow of Evil" for Texas and southern Oklahoma. 
A. A. Weiland of the Weiland Feature Film Co. of Pittsburgh, 
Pa., and J. Singer of the Attractive Feature Film Co. of Phila- 
delphia, Pa., announce that they are now obtaining bookings on 
Branded for Life." Murray F. Beier of the Emby Feature 
Film Co. of New York City is now booking "Branded for Life," 
as is also W. E. Greene of Boston, Mass ; the Golden Gate Film 
Exchange. San Francisco, Cal; Northwestern Feature Film Co., 
Portland, Ore., and the M. & F. Feature Film Co., Chicago, 111. 
Thomas W. Evans is manager of production at the. big 
Venus studios in Hollywood, Cal. With old and tried producers 
like H. C. Matthews and J. Farrell MacDonald, and the pro- 
found film knowledge of Messrs. Evans and Simone, there is 
every reason to predict success for Venus Features. 

Jacques Jaccard of the American Company, Director John- 
ston's assistant, has assumed the part played by Atholburt Bull, 
who was injured in "For the Flag." By the application of putty 
so good an impersonation was effected that the change will not 
be apparent on the screen, although a number of scenes are still 
to be made. 

Flo La Badie of the Thanhouser forces is a great favorite 
with Los Angeles audiences and when the film "Tannhauser" 
was given at the Garrick in that city her appearance from the 
introductory curtain was the signal for a round of applause. 
She is another person who possesses the gift of personality. 
The film was made in Los Angeles under Lucius J. Henderson. 
The stork visited the home of Mr. and Mrs. R. R. Nehls 
on Tuesday morning, July 16, and left a little daughter. Mr. 
Nehls, who is sales manager of the American Film Manufactur- 
ing Company, is passing the cigars and accepting congratulations. 
Director J. Farrell Macdonald of the Evans forces has just 
finished "Jephtha's Daughter," and a magnificent photoplay it is, 
too. Mr. Macdonald is now going to put on a series of two 
and three-reel powerful modern plays, mostly from well known 
authors. Constance Crawley, Arthur Maude, Joe Harris, William 
Dale, William Abbott and Edith Bostwick all contributed to 
some fine acting in "Jephtha's Daughter." This is the last of a 
notable series of classical plays turned out by Mr. Macdonald. 
Charles Simone, general manager of the Centaur Film Com- 
pany of New Jersey, is at the helm of the advertising and sales 



departments of the Venus Features and holds forth on the tenth 
floor of the Candler building, 220 West Forty-second street, 
New York, where the orders from state rights buyers are already 
pouring in. 

James Oppenheim has written a scenario for the Reliance 
Company which is being released as a two-reel feature on 
August 9, under the title of "The Fight for Right." Rosemary 
Theby and Irving Cummings are starred jointly in this drama, 
which deals with the labor union's side of the prison labor 
controversy and prison reform. Oscar C. Apfel is responsible 
for the staging of this timely story. 

C. L. Chester, who produced remarkable scenic films in 
South America for the Edison Company about two years ago, has 
been re-engaged by that company to make an extensive trip 
through the Northwest. Mr. Chester will travel through the 
beautiful Great Lakes, taking some interesting views of the 
famous "Soo" canal at Sault Ste. Marie, on his way to Duluth, 
where the greatest iron ore docks in the world are located. 
From there he goes to the Glacier National Park, where he will 
be accompanied by twelve Indians in native costume, who will 
lend realism to his pictures of this wild region. Mr. Chester 
will then swing out to the Coast, filming various scenes and spots 
of national fame. 

Edgena de Lespine is indulging a fad which is rather out of 
the ordinary. She is raising fancy ducks at her summer home 
on Long Island and can talk about breeds of ducks little thought 
of by the faithful followers of the canvasback. 

Norma Phillips and Irene Hunt are newly added Reliance 
players. Miss Phillips is seen to advantage in "Below the Dead 
Line," while Miss Hunt appears in the leading role of "Ken- 
tucky Foes." 

Leonard W. McChesney, formerly advertising manager of 
the General Film Company, is now associated with Thomas A. 
Edison, Inc., as manager of sales of the kinetoscope department, 
succeeding John Pelzer, resigned. 

George Siegmann had a peculiar accident during the making 
of the Reliance film, "The Smugglers' Sister," recently. Edgar 
Lewis was having considerable, difficulty getting a. flash of a dog 
chasing a cat .into a barn. George volunteered to hold. the cat, 
.which turned on him as soon as he let. go of it, and did consider- 
able damage before he. could shake it off. 

Walter Edwin is now in Maine with a strong company of 
Edison players, among whom are Mary Fuller, Bliss Milford, 
Elsie MacLeod, Augustus Phillips, Frank McGlynn, Richard 
Neill, John Sturgeon and Harry Beaumont. Mr. Edwin plans to 
do a big sea coast story, several tales of the North Woods, a 
"Mary" picture, and other interesting films. The party will be 
absent from the studio for six or eight weeks. 

Robert Brower was one of the most conspicuous absentees 
from the Edison booth at the moving picture exposition. Mr. 
Brower had just spent three days fishing at Barnegat and had 
been so badly sunburned that his lower lip was swelled as if 
from poisoning. The actor remarked that he had not dared to 
go to the exposition for fear of being arrested for blocking the 
aisles. 

Fred Mace of the Majestic in Los Angeles persuaded the 
officials of a sulky meeting to allow him to start in a comedy 
rig with a big white horse, in one of their races. He so arranged 
matters that at the finish he appeared some 300 yards ahead of 
the real competitors — winning easily with a "skate." Close to 
the finish he got down and took a rickety wheel off and pushed 
the rig over the line. The officials and the audience enjoyed the 
fooling immensely. 

Miss Winnifred Greenwood, the popular leading woman 
who has, until recently, been appearing in the releases of a 
licensed manufacturer, will shortly begin her duties as leading 
woman of the second company of the American Film Manufac- 
turing Company, whose studio is located at Santa Barbara, Cal. 



ROLL OF STATES. 

ILLINOIS. 

Dee Robinson of Peoria has returned from Kansas City 
where he has been in consultation with the Kansas City Scene 
Company over the scenery for the new Hippodrome theater. 
Mr. Robinson announces that work on the new Duchess picture 
theater next to the Masonic Temple on Adams street will be- 
gin within a few days. It will be exclusively a picture house 
of a thousand seating capacity, and one of the coolest, most 
elaborately adorned and safest theaters in the country. 



114 



MOTOGRAPHY 



Vol. X, No. 3 



M. & F. Feature Film Corporation, Chicago; $20,000; deal 
in all kinds of moving picture films; Samuel J. Schaeffer, A. F. 
W. Siebel, H. B. Fitzpatrick. 

Raymond Colver has leased a theater at Pleasant Plains, 
111., and will run moving pictures as the main attraction for his 
play house. He will conduct two shows each week, Friday 
and Saturday. Pleasant Plains is in Sanagmon county, about 
fifteen miles northwest of Springfield. He left Monday morn- 
ing to get the house in shape for the opening show on Friday 
night. 

The Garden City Theater Company of Peoria was incor- 
porated on Thursday with a capital of ten thousand dollars, 
which means that the city is to have another motion picture 
theater. The new company, which is composed of prominent 
theatrical men is already planning its first theater, to be built 
at the corner of Garden and Tyng streets. Reeves & Baillie 
are drawing the plans for the same and work is to be started 
and rushed to completion as soon as possible. 

The Drexel theater of Joliet has opened up for business. 
W. F. Clarke is manager. 

Chicago, 111.; $9,000; 13403 Ontario street; architect, F. 
W. Fischer, 9154 Commercial avenue; owner, John Howhy, 
13401 Ontario avenue; taking bids. 

Park Manor Theater Company, Chicago, $2,500; lease, own 
and control theaters ; Joseph Keef er, A. J. Krug, Harry A. Bois- 
sat. 

INDIANA. 

S. A. Hastings, architect, has plans in progress for the erec- 
tion of a moving picture theater for the Atlas Amusement Com- 
pany at College avenue and Nineteenth street, Indianapolis. 

The Gem theater at Murray will open for business at 
once. Manager R. S. Lower. 

IOWA. 

E. A. Bergman and company have sold their picture show 
at Dubuque to Mr. Peack of Belle Plaine, la. 

According to advices at the Des Moines city hall, more than 
$100,000 will be invested in new moving picture houses within 
the nxet two months. Two new houses are under construction 
and two more are proposed. O. P. Herrick is preparing a thea- 
ter in Highland Park and J. Miloslowsky is investing $25,000 
in remodeling 607-9 Locust street, where the Palace theater will 
be established. C. Christey says he is negotiating for the lease 
of two prominent downtown properties where moving pictures 
will be located. At least $100,000 will be invested in remodeling 
the buildings and in theater furnishings, it is said. 

Effie M. David, who has owned and successfully conducted 
the Lyric theater at Albia for several months, has sold the 
business to Kelley Bros., one of whom lives at Des Moines and 
the other at Cheyenne, Wyo. The new owners have taken 
possession. Hi Happy Hibbard has charge of the theater this 
week and may continue to look after the local business for the 
Messrs. Kelley in the future. 

Elmer Burrows has rented the Carr brick block in Milton 
and will open up a first-class moving picture theater the first 
of September. He has also rented the lots just south and will 
build an airdome for use in hot weather. The house will be 
re-arranged, opera chairs installed and when completed Mr. 
Burrows will have a modern outfit. 

E. W. Livingston of Wayland, has purchased the Alamo 
theater of Burlington of J. F. Swain and will take possession 
August 1. He formerly owned the picture theater at Wayland 
and has had a good deal of experience in the business. 

W. A. Matlack has leased the opera house at New Hampton 
for the coming season and expects to book a line of first class 
plays. He will continue to manage the Idle Hour, using it for 
pictures and the opera house for the drama. 

The New Royal airdome at Bentonville, Leister & Blake, 
owners, has opened up for business. 

C. C. Frie, formerly of Ida Grove, has sold out his moving 
picture show at Eldora and has gone to Brookings, S. D., to 
locate. He is erecting a new building for a show at Brookings 
and will have a fine little theater. 

The building occupied by the Dreamland moving picture 
theater at Storey City has been moved into the lot back of the 
hotel. This is only a temporary location for Dreamland, as 
Iver Egenes will conduct his moving picture show in the new 
opera house to be built this summer, he having leased the build- 
ing for a year. 

To J. A. and O. A. Yonker have been given the contract 
for reconstructing the Parlor theater at Shenandoah. 

The Idle Hour theater at Bloomfield, a motion picture thea- 
ter, was destroyed by fire with a loss of $3,000. H. J. Newell, 
manager, H. A. Wishard, owner. 

Ralph Hayes has established a moving picture show at 
Lovilia. 



A big Eastern motion picture company has had a representa- 
tive in Webster City looking over the old Crooked Creek rail- 
road with a view to leasing it for a series of railroad "thrillers 
to be staged this summer. The Crooked Creek line is seventeen 
miles long and is used as a coal road between Webster City 
and Lehigh. It runs through rugged and picturesque country, 
and is said to be ideal for motion picture work. The film repre- 
sentative sent here went over the line, and the matter of getting 
a satisfactory lease has been taken up. The Crooked Creek is 
now the property of the same company that owns the Fort 
Dodge, Des Moines & Southern. 

KANSAS. 

"The motion picture theaters in Parsons comply fully with 
the fire ordinances and sanitary requirements," said Fire Chief 
Buel on completion of an inspection of all the picture shows m 
the city. He gave them a "clean bill of health." 

The Globe picture show house at Atchison, formerly the 
Electric, has quit business. Will Goode bought it from Ward 
Chatburn. 

Wichita motion picture men, with others in the state, have 
declared for a better grade of motion pictures as the result of a 
meeting of Kansas picture show owners in Topeka. They have 
agreed to study public demand for pictures and to endeavor to 
give what the public desires in good films. E. G. Olson and 
F. L. Wright of Wichita and Chris Wagner of Newton repre- 
sented this section at the conference. 

KENTUCKY. 

The New Hippodrome Company, 317 S. Broadway, Lexing- 
ton, has plans by H. W. St. Clair, Charleston, W. Va., to re- 
model buildings for theater. 

LOUISIANA. 

The New Tudor theater at New Orleans is the very latest 
and probably most handsomely finished picture playhouse in the 
south, embracing all of the features of a modern, up-to-date and 
high-class theater. To make it such the Pearce management 
spent considerable in excess of original plans. 

A new picture house will be erected on Madison avenue, 
Baltimore. The auditorium will have a seating capacity of 750 
persons. A number of local capitalists, operating as the Metro- 
politan Amusement Company, Samuel Want, attorney, are behind 
the project. They plan the construction of a chain of similar 
establishments in this and other cities. 

MASSACHUSETTS. 

Picture Theater Corporation, Boston, $30,000; Frank L. 
Jones, Henry H. Gooding, Sarah Vander-Woude. 

MICHIGAN. 

Fred J. Durkee, owner of the Rex theater, of Saginaw, has 
completed arrangements for the Rex theater airdome which is 
now being constructed on Washington avenue, just north of the 
Auditorium. Four reels of moving pictures of Rex standard, 
illustrated songs and good music will feature the entertain- 
ment. Opera seats will be installed as at the Rex theater. Mr. 
Durkee has wires in for a feature New York act to open the 

bill. , . . . 

The Orpheum theater of Muskegon, the front of which 
has just been improved and the interior refinished so that it 
makes an ideal motion picture house, was opened as a film thea- 
ter last week, a big feature bill of five reels being shown. It is 
the plan of the owner, Joseph A. Richter, to show at the Or- 
pheum only special feature films. Although it is a ten cent 
house, he has made a special arrangement whereby those pur- 
chasing a ticket at the Lyric for five cents secure a coupon 
which entitles them to a ticket for the Orpheum upon the pay- 
ment of another nickle. Thus a patron may see the films of 
both houses for ten cents. 

A new theater is to be erected on corner of Washington 
boulevard and Grand River avenue, Detroit. Parties unknown. 

The Garden Theater Company of Battle Creek has filed 
articles of incorporation. Lipp & Cross, stockholders. This 
company will open up one of the finest motion picture houses 
in this part of the state. 

The Acadia is the name of the new moving picture theater 
which will be opened upon the South Side at the corner of 
Washington and Portage streets, Kalamazoo, by Lynn Barber. 
It will seat 280. 

Prospects are that Petoskey's new theater, the Temple, 
which is to be constructed by Mr. and Mrs. Walter Chrysler, 
will be completed July 15. The work will be rushed in order that 
the house may be in readiness for the summer season. Norman 
Feldman, the present manager of the Majestic theater, will be in 
control of the new house. 

The Lynch Theater Company will erect a new motion picture 
theater on Chene and Catherine streets. Detroit. 

The Lyric theater on Main street, Tshpeming, was sold to 
Chas. E. Skiff. 

Leach & Taylor, proprietors of a moving picture theater at 



August 9, 1913 



MOTOGRAPHY 



115 



Perry, have notified the state fire marshal's department that 
they will close their theater as they are unable to comply with a 
ruling of the department that all chairs must be fastened to the 
floor. 

It appears that two or three nights each week the hall is 
used for moving picture exhibitions, while on other occasions 
it is utilized as a dance hall. Rather than close the dances the 
moving pictures have been discontinued by the proprietors. 

The fire marshal's department has asked the attorney gen- 
eral for an opinion as to whether it will be possible to require 
carnival companies and other tent shows operating moving pic- 
ture machines, to provide stationary chairs. If the attorney gen- 
eral rules that chairs must be fastened, tent shows where moving 
pictures are displayed, will have to comply or cease operations 
in Michigan. The fire marshal contends that many accidents 
in moving picture theaters are due to the fact that the chairs 
are not securely fastened. 

MISSISSIPPI. 

John Livelar, Canton, opened bids June 2 to erect a moving 
picture theater. Plans by J. C. Landen, Jackson. 

MONTANA. 

The Bijou theater at Missoula remained dark for ten days. 
During this time the entire house was remodeled and made into 
a first-class picture house. Excavations were made at the rear 
of the theater so that it could be extended clear to the alley. 

MISSOURI. 

T. H. Taylor of Ridgeway has sold his moving picture out- 
fit to Albert Stanley. 

The Avenue theater, a new picture house at 1501 Frederick 
avenue, St! Joseph, was opened for its first performance last 
week. The theater has just been completed and has one of the 
best ventilating systems in the city. It has a seating capacity 
of 300, and the seats are so arranged that a good view is had 
from any one of them. There will be four changes of pro- 
gram each week — Monday, Wednesday, Friday and Sunday. 

NEBRASKA. 

An agitation is being made to close the moving picture 
theaters of Nebraska City on Sunday. Mayor Houston is in re- 
ceipt of a number of letters asking for such action. The local 
papers are against the move, claiming that if such a move is 
started it will result in making the city a Puritanic town and 
close up everything, even the Eagles, Elks, and Sons of Herman 
buffets, which are allowed to be open on Sunday, besides the 
cigar, drug stores and other places, save those exempted by the 
state law. The city had a touchc of this thing a number of 
years ago and it is said don't want the dose repeated. 

A new moving picture theater is to be located at 1511 O 
street, Lincoln. The building is to be remodeled and enlarged. 
M. Polsky and N. H. Cinberg are the two men interested. The 
building cost about $10,000 and the owner of the building will 
spend about $5,000 to enlarge and remodel same. 

NEW JERSEY. 

Crowds flocked to the handsome new Colonial theater at 
Atlantic avenue, between New York and Kentucky avenues, 
Atlantic City, the afternoon of July 2, to attend the opening per- 
formance. Words of praise were heard on all sides for the 
up-to-date manner in which the new house is to be conducted 
and for its general appearance. Six capital pictures are shown 
each afternoon and evening. Chris S. Hand is the able general 
manager of the house and he has a competent staff of assist- 
ants. 

NEW YORK. 

The three-story motion-picture theater completed recently 
at 11 to 13 West One Hundred and Sixteenth street, New York, 
has been leased by the Uptown Realty Company. The lessee is 
said to operate a picture theater on One Hundred and Thirty- 
third street. He takes the show house for a long period at a 
rental of $10,000 a year. 

Simultaneously with the erection of a new town hall and 
club house at South Ozone Park, L. I., the David P. Leshy 
Realty Company has begun the erection of a vaudeville and 
motion-picture theater, to seat 300 persons. The structure will 
occupy a plot, 40x140, on the south side of Rockaway boulevard. 

The Charles B. Case Company, to deal in moving-picture 
theater equipment, filed papers of incorporation at Syracuse with 
the county clerk. It is incorporated for $5,000. The directors 
are : M. H. Case, Frank K. Robinson and Frederick A. Brown. 

The Columbia theater, Newark's oldest show house, has 
been leased by Louis Schlesinger to Alexander R. Boyd, a the- 
atrical man of Philadelphia, Toronto, Buffalo and St. Louis. The 
theater is to be used for moving pictures by Mr. Boyd, who has 
taken the place for twenty years at a rental of $12,000 a year. 

On the east side of Park row, 65.6 feet north of Ann street, 
New York, is to be erected a one-story moving-picture theater 
to be known as the "Nassau Theater." It will have a frontage 



on Park row of 20.2 feet and will run irregular to Ann street, 
where will be located exits. The seating capacity will be 273. 
The facade will be of brick, with terra cotta trimmings. Joseph 
Anker is the owner. Lewis Leining, Jr., the architect, has esti- 
mated the cost at $10,000. 

Contracts are to be given out for a one-story brick moving- 
picture theater to be erected at 182 and 184 Belmont avenue, 
Newark, for Joseph Stern. Hyman Rosensohn is the architect 
of the project, which will cover a plot 42x100 feet. The roofing 
will be reinforced concrete and steel. There will be a seating 
capacity of about 650. About $12,000 will be expended on the 
building. 

Endicott will have a new motion-picture playhouse, located 
in Washington avenue on a site recently purchased by J. J. 
Fenderson, who announces that he will expend about $10,000 to 
construct the new theater. Plans for the building are being pre- 
pared by H. M. Underwood and George E. Tupper. 

Plans have been filed for installing an open air moving- 
picture show at Nos. 250 and 252 West Twenty-third street, New 
York, running through to Twenty-second street, to seat 1,385 
people and cost $1,000. Nicholas Abel is the owner and Max 
Muller the architect. 

Plans have been filed for using the ball ground in the north 
side of One Hundred and Forty-ninth street, east of Eighth 
avenue, New York, for moving pictures. The Elena Realty 
Company is the lessee and William Vincent Astor the owner. 

The First Methodist church building at Dunkirk will be torn 
down to make room for a moving picture theater building. 

The Westman Realty Company has sold for the L. D. Hun- 
tington estate to the Thanhauser Film Corporation a plot lOOx 
250x100, on Main and Evans street and Huntington place, New 
Rochelle, N. Y. The property was held at $20,000. The same 
company owns the property on the opposite side of Evans street. 
On the property just purchased the film company will erect a 
studio building. 

The Independent Film Service Company of New York has 
increased its capital_ from $10,000 to $1,000,000. 

Middleton-Garrison Feature Film Company, Inc., Pelham 
Manor, moving pictures, $50,000; Arthur W. Middleton, G. 
Blake Garrison, Walter A. Smith, 80 Broadway, New York 
city. 

One of the largest open air motion picture theaters will be 
opened Saturday in Mortimer street, Rochester, back of the 
Masonic Temple. The manager will be Dr. George P. French of 
19 Clifton street. 

The Stratton theater of Middleton will be remodeled at 
once. D. H. Canfield is the architect and Giles-Giles Company 
have the contract. 

NORTH DAKOTA. 

The moving picture show at Fargo has been closed for the 
summer. When it is reopened it will be in a new building north 
of the present location. 

NORTH CAROLINA. 

The summer season of motion pictures at the Auditorium, 
Asheville, has opened and it is announced that special children's 
matinees will be given. 

OHIO. 

One hundred spectators in the Crescent moving picture 
theater, 317 W. Superior avenue, Cleveland, filed slowly from 
the building when fire was discovered in a cleaning and pressing 
establishment on the second floor one evening last week. The 
operator, Arthur Koch, leaned from his booth and saw the re- 
flection of the flames through the window overhead. He in- 
formed the manager, William McFarlin, and the latter announced 
the building was burning. 

Plans have just been completed under the direction of A. J. 
Smith, owner of Coad block at Sixth and Main streets, Toledo, 
for remodeling the block and installing a fine modern moving 
picture theater, second to none in that city. Specifications are 
being prepared and work will begin as soon as the lease ex- 
pires on the corner store room now occupied by the Central 
Union Telephone Company as its East Side exchange. The 
lease expires August 1, but Mr. Smith has given a verbal ex- 
tension of the time until September 1. The theater will have 
a capacity of between 600 and 700 seats. The cost of the im- 
provement will be $10,000. The theater will be 45x120 feet. 

Independent Motion Picture Operators' Union of Kentucky 
No. 1, Louisville; incorporators, Fred Hurst, Walter Brinkman, 
John Riordan, William Klehm, Louis W. Denkley and A. 
Schmidt. 

A new theater will be erected on Jefferson street, Dayton. 
by Harry and Charles Gross. 

The Royal Photo and Film Company, Columbus, films for 
motion pictures, C. L. Dowerman, C. D. Jenkins, F. W. McCor- 
mick, Max Goldsmith, E. N. Allensworth ; $10,000. 



116 



MOTOGRAPHY 



Vol. X, No. 3 



The United Motion Picture Company, Cambridge, William 
Sheehan, Jr., and others; $50,000. 

The explosion of a celluloid film of motion pictures caused 
a panic at the Orpheum theater, Canton, one afternoon recently 
Anthony E Weber, 18 years old, and O. M. Stobley, the operators, 
were overcome by smoke and Weber was seriously burned. The 
smallness of the crowd in the theater at the time prevented loss 
of life in the panic. The damage was slight. An attendant with 
an extinguisher put the blaze out before the fire department 

The John W. Long building on Main street, Salem, is being 
remodeled and fixed up for a moving-picture show. Mr. De- 
Vorin, manager, will expend about $4,000 on same. 

The Empress Amusement Company, which operates the Jim- 
press theater on Summit street, Toledo, and is now building a new 
theater in the West End, the Laurel, at Delaware and Detroit 
avenues, is to build still another house on Dorr street near the 
corner of Collingwood. It is to cost $25,000, will have a front- 
age of 40 feet and a depth of 120, and have a seating capacity 
of 800. Only high-class motion pictures will be shown. 

OKLAHOMA. 

J I. Ransom sold Thursday to D. A. White, of Hobart, the 
Cozy theater, one of the best moving picture shows m the south- 
west. Both men have lived in Hobart for two years. 

PENNSYLVANIA. 

Managers J. Fred Zimmerman, owner of the Liberty and 
Keystone theaters of Philadelphia, announced that these thea- 
ters will undergo changes during the summer. Mr. Zimmer- 
man's new Fairmount theater, Twenty-sixth street and Girard 
avenue, will be opened in August and the Orpheum will be 
opened' the last week in August. 

P Demolition of three dwellings at 2040-42-44 South Bou- 
vier street, Philadelphia, was begun last week by M. A. B ruder 
to provide a site for a new down town moving picture house. 
It will probably be completed early in the fall The moving 
picture house at 1211 Market street, Philadelphia, is to be re- 
modeled at an expense of $3,500. A new lobby with marble 
decorations is a conspicuous part of the alteration. Ihe con- 
tractor is H. C. Hodges. 

William P Huster has been awarded the contract for the 
moving picture theater to be erected on York road below Lu- 
zerne street, Philadelphia, for S. Allinger. Cost $30,000. Sauer 
& Hahn, architects. ,,,,.■ lU 

T W. Lamb is preparing plans for alterations to theater at 
Eighth and Vine streets, Philadelphia, for J. G. Jarmon. 

James G. Doak & Company, Lam Building Company and 
Smith Hardigan & Company are estimating on plans and speci- 
fications for remodeling 1334-36 Arch street, Philadelphia into 
a moving picture theater for the Arch Street Amusement Com- 
pany. William H. Hoffman, architect. 

Architect H. H. Burrell, J. E. & A. L. Pennock, George & 
Borst and others are estimating on plans for alterations and 
additions to the Chestnut Street Opera House, Philadelphia. 
Bissell & Sinkler, architects. 

Lam Building Company has been awarded the contract for 
the moving picture theater to be erected at Broad and Reed 
streets, Philadelphia, for Margolin and Block. Peuckert & Wun- 
der, architects. .... , 

William H. Hoffman is preparing plans for a theater to be 
erected on Main and Carson streets, Marayunk, for J. S. Spring- 
er & Company. . 

Washington Motion Picture Company, Wilmington, Del., 
capital increase from $200,000 to $500,000. 

Architect Stevens, of Philadelphia, submitted some plans 
to W. W. Fagley for the alterations to the New Lyric theater, 
Bloomsburg. 

J. Rose & Son, contractors, will build for Freedman & Rose 
a one-story film theater at the northeast corner of Twenty-fifth 
street and Ridge avenue, Philadelphia. Capacity, 480 persons. 
The building will measure 73x75 feet; cost, $12,000. 

A contract has been let for the erection of a moving picture 
theater at the corner of Belgrade and Auburn streets, Philadel- 
phia. J. Richard Jackson, contractor; James W. Owens, owner. 

Alexander Rosenblum will erect a moving picture theater 
at 4028 Poplar street, Philadelphia. Cost, $12,000. 

John McKenna & Son have started work and are receiving 
bids for moving picture theater at Sixtieth street and Cedar 
avenue, Philadelphia. They are also estimating on a theater 
building at Sixteenth and Market streets. William Henry Hoff- 
man, architect. 

A. E. Westover is preparing plans and specifications for a 
film theater to seat 500 persons to be erected at Second and 
Noble streets, Philadelphia. The materials will be brick, blue- 
stone, ornamental terra cotta and stucco. 

A syndicate represented by David Moses is having plans 



prepared for moving picture theater to be built at Germantown 
and Susquehanna avenues, Philadelphia, at a cost of about 
$100,000. 

The Ontario Amusement Company; objects, to operate 
moving picture parlors and furnish amusement to the public; 
capital, $20,000; incorporators, B. C. Hack, H. A. E. Darnell, 
W. S. Darnell. 

The Mansion Realty Company has taken title to the site 3235- 
41 Ridge avenue, at the corner of Ridge avenue and Dakota 
street, Philadelphia, from Francis S. Brown, as the site for a 
moving-picture theater. The consideration was nominal, mort- 
gage $28,000. This lot measures 83.1 feet on Ridge avenue, 94 
feet on Dakota street and 79 feet on Natrona street. George 
Hogg, contractor, will break ground for the film theater, which 
will cost $20,000. 

Peter Maguire is having plans prepared for a moving picture 
theater to be erected at 60th street and Cedar avenue, Philadel- 
phia. Cost, $12,000. The building is to be one story, brick, 75x 
110 feet, with a seating capacity of 975. 

Pennsylvania Construction Company of Philadelphia is esti- 
mating on a building to be used as a moving picture theater at 
Ocean City, N. J. E. M. Henderson is the architect. 

Plans have been filed for a one-story moving picture theater, 
49 by 103 feet, which will be erected at Sixty-third street and 
Overbrook avenue, Philadelphia, for the Overbrook Amusement 
Company at a cost of $12,000. The seating capacity will be 500. 

J. Richard Jackson, builder, has taken out a permit for the 
erection of a moving-picture theater on the northwest corner 
of Fifty-fourth street and Baltimore avenue, Philadelphia. Size 
123.2x101.9 feet, one story, for Forte & Smith. 

W. K. Thorn, Coatesville, is estimating on plans for a 
moving-picture theater to be built at Parkesburg, Pa., for Moore 
& Harris, building to be two stories, 40 feet by 130 feet. Clyde S. 
Adams, architect. 

Reading moving-picture theater proprietors have formed an 
association and elected Ben H. Zerr president and Julius C. 
Hansen secretary. 

John McKenna & Sons are estimating on plans and specifica- 
tions for a building to be used as a moving-picture theater, stores 
and apartment house combined, in Philadelphia, 78x90 feet, of 
brick, stone and concrete. Private plans. 

F. Roe Searing has been awarded the contract for a moving- 
picture theater to be ercted at 203 North Broad street, Philadel- 
phia, for Goddard and Ringler, to cost $10,000. 

SOUTH CAROLINA. 

The Grand theater at Columbia has been purchased from S. 
A. Lynch by H. B. Schultz of Atlanta. He has taken charge, 
and has installed Joseph Spiegleberg as manager. 

SOUTH DAKOTA. 

Dr. E. M. Valentine is building over the Danforth block at 
Yankton and will turn it into a modern moving picture theater. 

TEXAS. 

A deal involving the spot cash payment of $10,000 was closed 
recently through J. A. Craven whereby Louis Santikos becomes 
the sole proprietor of the Ideal theater at Waco. Mr. Santikos 
is assurance for the fact that the Ideal motion picture theater will 
be renovated and remodeled throughout and rendered the most 
attractive amusement resort in the city. 

Plans have been drawn for a handsome new theater which 
the Dalton brothers propose to erect at 1525 and 1527 Elm 
street, opposite Stone street, Dallas. The theater will be known 
as the Old Mill theater and will have a seating capacity of 1,600. 
The floor area will be 50x200 feet. The front of the new 
theater is to be of Dutch or Flemish architecture, with a lobby 
to correspond with marble floor and onyx wainscoting. The 
interior decorations will be on the Sullivanesque style and are to 
be very elaborate. Something new and novel in the way of a 
ventilating system is promised. The entire plant, it is estimated, 
will cost about $125,000. It is hoped that the house will be ready 
to open about October 10. I. A. Walker is the architect. 

Announcement is made of the organization of the Waco 
Hippodrome Company, capital $70,000. A building will be 
erected on Austin near Eighth, which will be used for summer 
theater and for moving pictures. T. P. Finnegan of Dallas is 
president of the company. 

The Elk Photo Play Company of San Antonio, the purpose 
of which is the manufacturing, selling and leasing moving pic- 
tures, photo plays and similar products, filed a charter with the 
secretary of state recently. The capital stock of the company 
is $20,000. The incorporators are : A. A. Brack, Dora Brack and 
W. B. Jones, all of San Antonio. 

R. T. Ransom of Richmond has erected a building on his 
lots on Main street, Rosenberg. The building will be occupied 
by G. E. Lane, who will install an up-to-date moving-picture 
show. 



August 9, 1913 



MOTOGRAPHY 



117 



Complete Record of Current Films 

Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker, 
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs. 
Films will be listed as long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possible 
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be 
obtained of the manufacturers. 



LICENSED 



Date 

7-21 

7-21 

7-21 

7-21 

7-21 

7-22 

7-22 

7-22 

7-23 

7-23 

7-23 

7-23 

7-24 

7-24 

7-25 

7-25 

7-25 

7-25 

7-25 

7-26 

7-26 

7-26 

7-26 

7-26 

7-26 

7-26 

7-26 

7-28 

7-28 

7-28 

7-28 

7-28 

7-28 

7-29 

7-29 

7-29 

7-30' 

7-30 

7-30 

7-30 

7-30 

7-31 

7-31 

7-31 

7-31 

8-1 

8-1 

8-1 

8-1 

8-1 

8-2 

8-2 

8-2 

8-2 

8-2 

8-2 

8-2 

8-4 

8-4 

8-4 

8-4 

8-4 

8-5 

8-5 

8-5 

8-5 

8-6 

8-6 

8-7 

8-7 

8-7 



8-9 
8-9 
8-9 
8-9 
8-9 
8-9 
8-9 



7-19 
7-21 
7-21 
7-22 
7-23 
7-23 
7-23 
7-24 
7-24 



DRAMA. 

Title Maker 

Tapped Wires Essanay 

A Bolt From the Sky Kalem 

An Actor's Strategy Lubin 

The Short Stop's Double Selig 

The Only Way Vitagraph 

A Rose of Sharon Essanay 

The Benefactor Lubin 

The Senorita's Repentance . . . .' Selig 

The Dance at Eagle Pass Essanay 

Home, Sweet Home Lubin 

A False Accusation Patheplay 

The Unseen Defense Selig 

The Mirror Biograph 

An Old Maid's Love Story Vitagraph 

Honor Thy Father Cines 

The Meadow Lark Edison 

Baffled, Not Beaten Kalem 

The Exile Lubin 

The Acid Test Selig 

The Coming of Angelo Biograph 

A Proposal From the Duke Edison 

Broncho Billy and the Schoolmam's Sweetheart. . .Essanay 

The Moonshiner's Mistake Kalem 

The Price Demanded Lubin 

The Mad Sculptor Patheplay 

The Spell • Vitagraph 

A Prince of Evil Vitagraph 

The Vengeance of Galora Biograph 

The Greed of Osman Bey Edison 

The Girl and the Gangster Kalem 

The Flying Switch Kalem 

The Stolen Face Selig 

Dr. Crathern's Experiment Vitagraph 

The Bells Edison 

The Call of the Plains Essanay 

The Call of the Heart Lubin 

Bread Upon the Waters Essanay 

Birds of Prey Kalem 

A Dash for Liberty Lubin 

The Haunted House Patheplay 

The Sixth Commandment Vitagraph 

The Fatal Scar Lubin 

The Call of the Blood Patheplay 

Man and His Other Self Selig 

When Society Calls Vitagraph 

The Red Old Hills of Georgia Edison 

The New Gown Lubin 

The Springtime of Life Patheplay 

Through Another Man's Eye Selig 

Courage of the Commonplace Vitagraph 

When Love Forgives Biograph 

The Monument Biograph 

The Robbers Edison 

The Tenderfoot Sheriff Essanay 

A Virginia Feud Kalem 

The Message of the Rose Lubin 

The Intruder Vitagraph 

The Substitute Stenographer Edison 

King Robert of Sicily Essanay 

Intemperance Kalem 

The Governor Lubin 

The Devil and Tom Walker Selig 

Dolly Varden Edison 

Homespun Essanay 

The Mansion of Misery Selig 

A Faithful Servant Vitagraph 

Shipwrecked Kalem 

The Stolen Moccasins Selig 

Under the Shadow of the Law Biograph 

The Camera's Testimony Lubin 

When a Woman Wastes Patheplay 

His Greatest Victory Edison 

The House of Mystery Cines 

The Reformers Biograph 

By Fire and Water Edison 

Broncho Billy and the Navajo Maid ..Essanay 

The Alibi Kalem 

When Tony Pawned Louisa Lubin 

A Woman's Way Patheplay 

The Line-Up Vitagraph 

COMEDY. 

The Taming of Betty Vitagraph 

Pa Says Biograph 

While the Count Goes Bathing Biograph 

The Pickpocket Vitagraph 

At Midnight Edison 

The Tenderfoot's Luck Kalem 

An Error in Kidnapping Vitagraph 

The Browns Study Astrology Essanay 

Zeb, Zack and the Zulus Lubin 



Length 

2,000 
1,000 
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Date. Title Maker. I. 

7-24 Two Artists and One Suit of Clothes Selig 

7-25 Making Good Essanay 

7-25 The Tables Turned Vitagraph 

7-28 The Widow's Wiles Lubin 

7-28 Rastus Among the Zulus Lubin 

7-29 Henrietta's Hair Selig 

7-29 Borrowing Trouble Selig 

7-29 The Troublesome Daughters Vitagraph 

7-30 As the Tooth Came Out Edison 

7-30 The Taming of Texas Pete Selig 

7-31 Those Little Flowers Biograph 

7-31 Mr. Spriggs Buys a Dog Biograph 

7-31 Tit For Tat Essanay 

7-31 It Happened in Java Melies 

8-1 Such Is Life Essanay 

8-1 His Wife's Friends Essanay 

8-1 Hoodooed on His Welding Day Kalem 

8-4 The Widow's Kids Biograph 

8-4 Cupid and the Cook Biograph 

8-4 The Fortune Hunters of Hicksville Vitagraph 

8-5 Getting Married , Lubin 

8-5 Roses for Rosy Lubin 

8-5 The Love Letter Patheplay 

8-6 The Romance of Rowena Edison 

8-6 Their Promise Essanay 

8-6 The Late Mr. Jones Vitagraph 

8-7 The Incriminating Letter Essanay 

8-7 The Galloping Romeo Selig 

8-7 The Grocer's Revenge Selig 

8-7 The Penalties of Reputation Vitagraph 

8-8 Rescuing Dave Essanay 

8-8 Mr. Rhye Reforms Essanay 

8-8 The Hobo and the Hobble Skirt Kalem 

8-8 Her Husband's Wife Lubin 

8-8 Miss Arabian Nights Selig 

8-8 A Gentleman of Fashion Vitagraph 

EDUCATIONAL. 

7-23 A Knife of Fire Edison 

7-23 Building the Chattanooga Light and Power Dam.. Essanay 

7-23 Coffee Industry in Jamaica Lubin 

7-23 Javanese Dances Melies 

7-23 Opportunity and a Million Acres Patheplay 

7-29 Curious Sea Creatures Patheplay 

8-1 The Wonders of the Briny Deep Kalem 

8-1 A Study of Bird Life Patheplay 

8-6 With the Natives of New Zealand Patheplay 

8-7 An Intimate Study of a Mole., Essanay 

SCENIC. 

7-22 In and Around Scutari After Its Capture Patheplay 

7-22 In Weird Crimea Patheplay 

7-22 Historic Savannah, Georgia Kalem 

7-24 The Island of Tonga Patheplay 

7-24 In the Moro Land Selig 

7-24 A Trip to the Grottos of Baume Patheplay 

7-24 Scenes in Honolulu Vitagraph 

7-30 1 Grand Canyon of Arizona Edison 

7-31 Through the Cumberland Mountains, Tenn Essanay 

8-1 Monte Carlo (Monaco) Patheplay 

8-2 Where Clouds and Mountains Meet Patheplay 

8-2 Colombo, Capital of the Island of Ceylon Patheplay 

8-4 The Granite Dells, Prescott, Arizona Selig 

8-4 The Celestial Republic Vitagraph 

8-6 The Grand Canyon of New York — Ausable Canyon 

Patheplay 

8-7 Snapshots of Java Melies 

8-8 Coney Island Kalem 

8-8 Genoa, Principal Port of Italy Patheplay 

8-8 Mount St. Mickel Patheplay 

TOPICAL. 

7-28 Pathe's Weekly No. 36 Patheplay 

7-29 Daily Doings in Manila Patheplay 

7-31 Pathe's Weekly No. 37 Patheplay 

8-4 Pathe's Weekly No. 38 Patheplay 

8-7 Pathe's Weekly No. 39 Patheplay 



engtti. 

500 

1,000 

850 

400 

600 

500 

500 

1,000 

600 

1,000 

500 

500 

500 

1,000 

500 

50O 

500 

500' 

500 

500 

400 

600 

1,000 

1,000 

1,000 

1,000 

500 

500 

500 

1,000 

500 

500 

500 

1,000 

1,000 

1,000 



400 
500 
400 
1,000 
700 

1,000 

500 

500 



600 
400 
500 
300 
500 
300 
150 
400 
500 



500 
500 

500 
1,000 
500 
50O 
500 



1,000 

1,000 
1,000 
1,000 



DAILY LICENSED RELEASES 

MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita- 
graph. 

TUESDAY: Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig, 
Vitagraph. 

WEDNESDAY: Edison, Essanay, Kalem, Eclipse-KIeine, Pathe, 
Selig, Vitagraph. 

THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig, 
Vitagraph. 

FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita- 
graph. 

SATURDAY: Edison, Essanay, Cines-Kleine, Kalem, Lubin, 
Pathe, Vitagraph. 



118 



MOTOGRAPHY 



Vol. X, No. 3 



INDEPENDENT 



Date 

7-28 
7-28 
7-28 
7-28 
7-28 
7-28 
7-29 
7-29 
7-29 
7-29 
7-30 1 
7-30 
7-30 
7-30 
7-31 
7-31 
7-31 



8-2 
8-2 
8-2 
8-3 
8-4 
8-4 
8-4 
8-4 
8-4 
8-5 
8-5 
8-5 
8-6 
8-6 
8-6 
8-6 
8-6 
8-7 



8-9 
8-9 
8-9 
8-9 



7-28 

7-29 

7-30 

7-30 

7-30 

7-31 

7-31 

7-31 

7-31 

7-31 

8-1 

8-1 

8-1 

8-2 

8-2 

8-2 

8-3 

8-3 

8-3 

8-3 

8-4 

8-4 

8-5 

8-5 

8-6 

8-6 

8-7 

8-7. 

8-7 

8-7 

8-7 

8-8 



DRAMA. 

Title Maker 

The Scapegoat American 

Below the Dead Line Reliance 

The Bride of the Sea Dragon 

The Stranger ' Imp 

The Proof Nestor 

Stars in My Crown Gem 

Little Dorrit Thanhouser 

The Toy Majestic 

Robinson Crusoe Bison 

The Paper Doll Crystal 

A War Time Mother's Sacrifice Broncho 

Rosita's Cross of Gold Reliance 

Comrades Nestor 

Soul to Soul Eclair 

Mission Bells American 

Loyal Hearts Pilot 

The Power of Heredity Rex 

Banzai Kay Bee 

In the Midst of Time Thanhouser 

When the Tide Turns Solax 

Fate and Three Powers 

In After Years Victor 

The Little Pirate Reliance 

Tempesta Majestic 

Single Handed Jim American 

The Cave Dweller's Romance Bison 

A Brand From the Burning Frontier 

Civilized and Savage Rex 

The Blindness of Courage Dragon 

When Chemistry Counted American 

The Doctor's Dilemma Reliance 

'Lisbeth Imp 

The Second Home Coming Nestor 

The Protectory's Oldest Boy Thanhouser 

The Death Stone of India Bison 

A Child's Influence Crystal 

Joe Hibbard's Claim : Broncho 

Checkered Lives Ramo 

Mona Nestor 

The Village Blacksmith Powers 

The Honor of Lady Beaumont Eclair 

When the Prince Arrived Rex 

The House of Bondage Kay Be'e 

The Girl of the Cabaret Thanhouser 

Falsely Accused Solax 

The Heart of a Heathen Powers 

Nature's Vengeance Victor 

The Fight for Right Reliance 

His Sister Lucia American 

The Snake Bison 

On the Ranger's Roll of Honor Frontier 

COMEDY. 

Just Kids Keystone 

A Hair Raising Affair Gaumont 

The Coat That Came Back Solax 

I Should Worry Ramo 

While the Children Slept .Powers 

Prof. Bean 's Removal Keystone 

Funnicus Wins the Race Mutual 

A Resourceful Lothario Gaumont 

Lord Barry's Low Acquaintance Imp 

A Hasty Jilting Frontier 

Oh, Wat'er Wet Day Lux 

The Girl I Left Behind Me Lux 

His Friend the Undertaker Nestor 

The Five Copies Great Northern 

That Chinese Laundry Imp 

Funny Fancies by Hy Mayer Imp 

Proposal by Proxy Thanhouser 

What Papa Got Crystal 

Her Little Darling Crystal 

Grease Paint Indians Eclair 

Cohen's Outing Keystone 

Bob's Baby , Gem 

Hearts and Hoofs Majestic 

A Honeymoon Hoax Gaumont 

The Silly Sex Reliance 

The Heavenly Widow Solax 

The Riot Keystone 

The Green Eyed Monster ..;... .Pilot 

Shoving the Wooer Gaumont 

A Modern Romance Imp 

Masquerading in Bear' Canyon Frontier 

The Girls and Dad Nestor 

Almost a Rescue Nestor 



Length 

2,000 
1,000 
1,000 
2,000 
1,000 
1,000 
2,000 
1,000 
3,000 
1,000 
2,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 
3,000 
1,000 
1,000 
1,000 
1,000 
1,000 
3,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
3,000 
1,000 
1,000 
2,000 
1,000 
2,000 
1,000 
2,000 
1,000 



1,000 

1,000 

1,000 

1,000 

1,000 

1,000 

500 

500 

1,000 

1,000 

535 

436 

1,000 

1,000 

500 

500 

1,000 

500 

500 

500 

1,000 

1,000 

1,000 

1,000 

1,000 

1,000 

1,000 

1,000 

500 

1,000 

1,000 

500 

500 



Date. Title. Maker. Length. 

8-9 The Devilish Doctor Majestic 1,000 

8-9 The Cook Question • Imp 500 

8-9 Adventures of Mr. Phiffles by Hy Mayer Imp 500 

8-10 Oh, Such a Beautiful Ocean Thanhouser 1,000 

EDUCATIONAL. 

7-20 Sacred Gazelles Eclair 500 

7-31 Microscopic Animalculae Mutual 500 

7-31 In the Land of Dates Gaumont 500 

SCENIC. 

7-24 Through Turkey Mutual 500 

7-24 Through Mountains Majestic Gaumont 500 

8-3 Holy Cities in Japan Eclair 500 

8-7 Golden Gate Park and Environs American 1.000 

8-7 Up Mt. Blanc Gaumont 500 

TOPICAL. 

7-30 Animated Weekly No. 73 Universal 1,000 

7-30 Mutual Weekly No. 31 Mutual 1,000 

7-30 Gaumont Weekly No. 73 Gaumont 1,000 

8-6 Animated Weekly No. 74 Universal 1000 

8-6 Mutual Weekly No. 32 Mutual 1,000 

8-6 Gaumont Weekly No. 74 Gaumont 1,000 



KINEMACOLOR 



DRAMA. 

Mission Bells Kinemacolor 

Love and War in Toyland Kinemacolor 

Hiawatha Kinemacolor 

When Love Grows Up Kinemacolor 

COMEDY. 

A Family Affair Kinemacolor 

In Search of Bacchus Kinemacolor 

TOPICAL. 
Shriner's Parade and Sports, Los Angeles, Cal., 1912. Kinemacolor 
Life on Board An American Man-o-War Kinemacolor 



2,230 



1,500 



MISCELLANEOUS FEATURES. 



Date. Title Maker, l.eneih 

6-15 The Fatal Grotto Itala Features 2,000 

James K. Hackett in Prisoner of Zenda Famous Players 4,000 

The Man in the White Cloak Great Northern Special 3,000 

Zingomar III Union Features 3,000 

The Wife of Cain Helen Gardner Features 

Satan Ambrosio Feature 3,000 

When Men Hate (Gene Gautier) Warner's Features 3,000 

In the Claws of the Vulture Ambrosio Feature 3,000 

In the Toils of the Devil Monopol 2,500 

In Touch With Death Gaumont 3,000 

Zoe, or A Woman's Last Card Hecla 3,000 

Her Supreme Sacrifice Warner's Features 3,000 

Branded for Life Itala Features 2,000 

Theodora Warner's Features 3,000 

From Out the Depths (Peerless) A. K. Corporation 2,000 

Those Who Live in Glass Houses Monopol 3,000 

Fantomas Under the Shadow of the Guillotine Gaumont 3,000 

The Day of Judgment Union 3,000 

The Love Romance of Sir Francis Drake 

(Hepworth) A. K. Corporation 3,000 

Theresa, The Adventuress Great Northern Special 3,000 

Trapped in the Death Pit Union Features 3,000 

The Missionary's Sister Ambrosio Features 3,000 

Unmasked Itala Features 3,000 

The Pit and the Pendulum Solax Features 3,000 

At the Foot of the Scaffold A. K. Corporation 2,000 

A Sister to Carmen Helen Gardner Features 3,000 

The Green God Union Features 3,000 

The Streets of New York Pilot Feature 3,000 



DAILY EXCLUSIVE RELEASES 

(Independent.) 

MONDAY: Dragon. 
TUESDAY: Gaumont. 
WEDNESDAY: Solax, Gaumont. 
THURSDAY: Gaumont. 
FRIDAY: Solax, Lux. 
SATURDAY: Great Northern. 



DAILY "MUTUAL" RELEASES 

(Independent.) 
MONDAY: American, Keystone, Ramo. 
TUESDAY: Majestic, Thanhouser. 

WEDNESDAY: Broncho, Mutual Weekly, Reliance, Ramo. 
THURSDAY: American, Mutual, Keystone, Pilot. 
FRIDAY: Kay-Bee, Thanhouser. 
SATURDAY: American, Reliance, Ambrosio. 
SUNDAY: Majestic, Thanhouser. 



DAILY UNIVERSAL RELEASES 

(Independent.) 
MONDAY: Imp, Nestor, Gem. 
TUESDAY: Bison, Crystal. 

WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers. 
THURSDAY: Imp, Rex, Frontier. 
FRIDAY: Nestor, Powers, Victor. 
SATURDAY: Imp, Bison, Frontier. 
SUNDAY: Crystal, Eclair, Rex. 



ftfoToGMPItf 




EXPLOITING 






Ci> 





A * 




Vol X 



CHICAGO, AUGUST 23, 1913 



No. 4 





■H& 



MARY PICKFORD 

WITH 
FAMOUS PLAYERS 




Copyright 1913, by George Kleine Copyright 1913, by George Kleine 

A Kleine-Cines Feature of Unusual Power 

"The Sign of the Black Lily" 

(In Two Reels) For Release Tuesday, Sept. 2, 1913 

Essentially a Dramatic Story combining a delightful tale of adventure with 
those wonderful stage settings for which the house of Cines is famous. 

You will like "The Sign of the Black Lily." Full of adventure, crowded with 
unexpected situations of splendid power, assisted by those most remarkable of 
stage mechanics, you find a new thrill in the charm of this delightful two-part 
subject. 

How a wary, old white-haired favorite of the clubs and drawing-rooms is 
exposed as the leader of the "Black Lily" gang — how an enterprising detective 
wormed his way into the foul heart of the most vicious and corrupt organization 
in all Paris — how, by finding secret buttons, walls moved, floors disappeared 
revealing strange hiding places of the gang! What happened to the police — the 
valiant fight against overwhelming odds — the dramatic unmasking of the sleek 
villain in his own reception room crowded with guests — who little suspected his 
real character — all makes a film delightful for its strong situations, convincing 
acting and clever story. 

Remember the Date is Tuesday, 
September 2, 1913 

1, 3 and 6 sheets with this subject. 

George Kleine 

166 N. State St., Chicago, 111. 




August 23, 1913 



MOTOGRAPHY 



Read This, Mr. Exhibitor!! 

You Must Know These Facts 
to Show Good Films 



ESSANA Y comedies produced at the 
Chicago Studio are masterpieces in 
photographic and dramatic por- 
trayal. For GOOD comedies that 
your audiences will ENJOY, book 
those produced by ESSANA Y. 



ESS AN AY dramas such as have 
never been produced and exhibited 
before, will be in the regular weekly 
bookings. Talent, the best that 
money can supply you with, is used 
in dramas produced by ESSANA Y. 



A Multiple Reel Feature Every Friday — Book Them All 

Essanay Film Manufacturing Co. 

Chicago, Illinois 





D 



oooooooMj^^mmmmssETOTOO^ooffigi 



LUBIN FILMS 



Our Regular Thursday Release 
is 2000 Feet 



Special Two-Reel 



"GOOD FOR EVIL 

A beautiful tale of Renunciation 



Thursday, August 14th 



Special Two-Reel 



"THE BURNING RIVET' 



Thursday, August 21st 



Sullivan, the political "boss," has Mayor Weltman in his power and he controls an important newspaper. Weltman s son. Harry. 1S in 
love with Sullivan's daughter, but declares he will stand by his father. Sullivan has papers that prove Weltman s first mis-step and 
will use them to coerce the mavor into another crooked deal. Harry, determined to get possession of the papers that are in Sullivan s sate 
goes to the office and finds the '"boss" drunk. Presently a red hot rivet, bemer thrown up by the ironworkers ata new building, accidentally 
lands in Sullivan's office and sets fire to the building. Sullivan is lost, and Margaret installs a new editor, instructing him to insert a 
notice of the approaching marriage of Harry and Margaret. 



Two Real' 



"THE GANGSTER" 

A brute Gangster at last finds he has a heart. 



Thursday, August 28th 



Two Real 



"THE ROAD TO THE DAWN" Thursday, September 4th 



An odd but beautiful episode of reformation 



August 18, "Mary's Temptation' 
August 19, "Black Beauty" 
August 22, "The Rag Bag" 




August 22, "Smashing Time" 
August 23, "The Tenderloot Hero' 
August 25, "Her Wooden Leg" 
August 30, "His Last Crooked Deal" 



August 25, "On The Dumb Waiter" 
August 26, "The Relormed Outlaw 
August 29, "His Conscience" 



Beautiful one, three and six sheet posters of our Photo Plays in five colors, c, in be obtained I from your 
exchange or the A. B. C. Co., Cleveland. Ohio. Photos of the Kraus Mfg. Co., 14 East 17th St., New York. 



LUBIN MANUFACTUR1NGC0 



PHILADELPHIA 
U.S.A. 




Justify the advertiser by saying you read it here. 



WITH WHICH IS INCORPORATED THE NICKELODEON 



CHICAGO, AUGUST 23, 1913 



PUBLISHED BI-WEEKLY BY 

ELECTRICITY MAGAZINE CORPORATION 

MONADNOCK BUILDING, CHICAGO 

Telephones: Harrison 3014 — Automatic 61028 



Ed J. Mock and Paul H. Woodruff Editors 

Neil G. Caward Associate Editor 

Mabel Condon Associate Editor 

Allen L. Haase Advertising Manager 

Entered as second-class matter at the postoffice at Chicago, Illinois, under 
act of March 3, 1879. 



TERMS OF SUBSCRIPTION 

United States, Cuba, and Mexico Per year, $2.00 

Canada Per year, 2.50 

Foreign countries within the Postal Union Per year, 3.00 

Single copy 10 



NOTICE TO ADVERTISERS 

Changes of advertising copy should reach the office of publication not 
less than fifteen days in advance of date of issue. Regular date of issue, 
every other Saturday. New advertisements will be accepted up to within ten 
days of date of issue, but proof of such advertisements can not be shown 
in advance of publication. 



NOTICE TO SUBSCRIBERS 

Remittances — Remittances should be made by check, New York Draft 
or money order, in favor of Motography. Foreign subscriptions may be 
remitted direct by International Postal Money Order. 

Change of Address — The old address should be given as well as the 
new, and notice should be received two weeks in advance of the desired 
change. 

This publication is free and independent of all business or house con- 
nections or control. No manufacturer or supply dealer, or their stock- 
holders or representatives, have any financial interest in Motography or any 
voice in its management or policy. 



CHICAGO, AUGUST 23, 1913 



TABLE OF CONTENTS 

Scene from "Marc Anthony and Cleopatra" Kleine-Cines release 

, Frontispiece 

Editorial 119-120 

Is Film Censorship Necessary? 119 

The Power of the Screen 120 

The Wonder of the Pictures 120 

Betzwood On the Perkiomen 121-122 

Vitagraph's Two-Reel Comedy 122 

"The Power of Conscience" 123-124 

"Conscience?" 124 

Sans Grease Paint and Wig. By Mabel Condon 125-126 

Wisconsin Association Organized 126 

On the Outside Looking In. By the Goat Man 127-130 

Polar Photography Under Difficulties 130 

Myography's Gallery of Picture Players 131 

Stage Head-on Collision 132 

Just a Moment Please 132 

Perform Daredevil Feat Before Camera 133 

Edison to Release- Detective Story 134 

Motion Picture Making and Exhibiting. By John B. Rathbun 135-138 

Prominent Exhibitors 138 

A Diamond-S Potpourri 139-140 

Minnesota Delegates Report 140 1 

Ctirrent Educational Releases 141-142 

Kerrigan Enacts a Soldier Role 143-144 

President Neil's Convention Report 144 

Of Interest to the Trade 145 "}ic 

P. A. Powers Heads Warner's Features 145 

American Pictures. By Gaumont ; • 145 

Kinemacolor Licensed by Patents Company 14o 

Enlarged Vitagraph Plant 146 

Said to Be Last Word in Features •. 147 

New Poster Soon Ready J4S 

T. H. Blair Returns to Picture Field 148 

Neff Conference Accomplishes. Little ■ jj° 

Brevities of the Business 149-152 

Complete Record of Current Films 153-154 



IS FILM CENSORSHIP NECESSARY? 

MR. L. C. SMITH, proprietor of the Crescent Thea- 
ter of Schenectady, New York, has recently ex- 
pressed some views on the censorship question which will 
probably be of interest to exhibitors in all parts of the 
country. 

Mr. Smith believes that the resolution taken at the 
recent I. M. P. A. convention in New York, sustaining 
and commending the work of the National Board of 
Censorship, will meet with the approval of exhibitors 
everywhere, and suggests that perfect films can be ob- 
tained in the following manner : 

First — By copyrighting the design and words 
"passed by the National Board of Censorship," thereby 
enabling a prosecution for affixing its trademark without 
permission, and to films in which the objectionable por- 
tion has not been eliminated. 

Second — By the National Board refusing to. allow 
its trade mark to be affixed by others than the manu- 
facturers and original importers, and then only when 
they make the eliminations called for. 

Third — By the exhibitors sustaining the Board, by 
refusal to show on their screens any production not 
bearing the National Board's trade mark. 

While all of Mr. Smith's suggestions are good, it 
seems to us the third and last paragraph of his plan is 
the one upon which the scheme must stand or fall. The 
exhibitors refusal to show films which are not perfectly 
right and proper is the whole censorship problem in a 
nut shell. If strictly and carefully maintained, there 
seems no need for even a National Board of Censorship 
to pass upon films, for the exhibitor becomes his own 
censor when he refuses to pass any film for obvious 
reasons. 

Should all the exhibitors in the United States "stand 
pat" on their decision not to show a film which they 
would hesitate to show their mothers, their wives or their 
sweethearts, and go even so far as to close up their 
houses in cases where it was impossible to obtain the 
right sort of pictures, it would not be very long before 
the exchangeman, the producer and the manufacturer 
of films would sit up and take notice as they have 
never done before. 

The fact always remains that there are two classes 
of exhibitors : Those who live in a city where they can 
themselves go down to the exchange and view for them- 
selves the releases of the coming week, from which they 
will pick their program ; and those who conduct amuse- 
ment enterprises in country towns, booking their films 
through a film exchange in a distant city and unable to 
see the films which they are going to show upon any 
given day, until the train pulls in bearing their "show." 

It may be argued that the country exhibitor is help- 
less — that he has to accept whatever his exchange sends 
him, for the reason that if an objectionable picture is 
shipped him he discovers it too late to book another film 
■ in its place. 

Under such circumstances would it not be better for 
that exhibitor to close up his house, hang a banner over 



120 



MOTOGRAPHY 



Vol. X, No. 4 



the door announcing to all comers that the program he 
has received is, in his estimation, below the standard 
which he is trying to maintain and that consequently 
there will be no entertainment that evening? Isn't it 
almost a certainty that, instead of losing business by such 
a policy, capacity houses would result on following nights, 
once it became known that only the very best and highest 
class of pictures were shown at that theater? 

If the exchange from which he was obtaining ser- 
vice continued to supply, at frequent intervals, films 
which the exhibitor could not use, it would only be a 
matter of days until the exhibitor switched to an ex- 
change which would give him what he demanded. And 
the same condition being true in all the towns in the 
territory covered by the first exchange, the flood of 
service cancellations would soon lead the exchange man- 
ager to wake up to what was happening and "come back" 
at the manufacturer of the objectionable subjects. 

As an actual fact the proportion of American-made 
films which are to-day objectionable from the moral or 
religious standpoint, is remarkably small, and once such 
a plan as that faintly suggested by Mr. Smith goes into 
effect, it would inevitably result in even the present small 
proportion being reduced to nothing. 

When all is said and done, the fact remains that 
the great American public is the censor. This is un- 
doubtedly true with respect to films, just as surely as it 
is with plays or any other form of entertainment. That 
which is base, low or degrading is bound to wane, and 
at last fade entirely from public notice and public ap- 
proval, once the public itself decides that it is below 
the standard demanded. 



THE POWER OF THE SCREEN. 

VARIOUS political campaigns have conclusively pro- 
ven the power of the picture theater in influencing 
the voters of a community to favor certain candidates. 
It is even recorded that in certain instances the slides 
on the screens of picture theaters have supported certain 
candidates or reforms when the newspapers of that com- 
munity, for reasons best known to themselves, either 
remained silent or supported the opposition. 

In Chicago an effort is now on foot to prevent a 
telephone franchise grab, largely through the medium 
of slides shown at the various picture theaters of the 
city. The newspapers have been strangely silent about 
the doings of the corporation which is seeking to absorb 
another and much smaller corporation, which has been, 
in a sense, a competitor of the big concern. 

Those behind the movement to prevent the absorp- 
tion, finding themselves unable to secure much publicity 
through the newspapers, are turning to the theater 
screens and are urging proprietors of the leading theaters 
lo permit them to show slides on the screen calling the 
voters' attention to what is happening in the city, and 
urging their help in preventing what the slides call "the 
worsl deal ever put over in this city." 

Wise publicity men well know that the screen is 
a wonderful medium for reaching the people of a great 
city, that practically every one attends a picture theater 
occasionally, and that an appeal, made to the public by 
means of either the films themselves or the slides which 
aii' also shown, is hound to produce far reaching results. 

Many of those who have never before realized the 
ever increasing power of the screens on which the silent 
dramas are projected an- watching with interest the 
results of this latest publicity wrinkle, and if successful 

in any large degree, we may expeel t>> see slides used to 



create public interest in many other undertakings that 
at various times are sure to hold the public eye. 

The motion picture screen has already been made 
not only to entertain, but also to aid in the detection and 
apprehension of criminals, to find lost individuals, to 
expound and depict scientific miracles, and natural phe- 
nomina hitherto unknown, and there seems no doubt that 
it will soon become a great public bulletin board almost 
equally powerful with the press. 



THE WONDER OF THE FILMS. 

AS he sat in the Consistorial Hall in the Vatican a few 
days ago Pope Pius X enjoyed a moving picture 
show. A number of scenes of other countries passed 
before his eyes. He was able to see American mountains, 
valleys and plains, and Viennese streets with but the 
lapse of a few minutes and without leaving his chair. 
At the end of the exhibition he commented upon the 
wonderful progress of science that permits the unfolding 
of the world's wonders to a man who like himself has 
chosen never to leave one small spot on the earth's sur- 
face. The pictures are so popular, men. women and 
children have become so accustomed to them that few 
persons nowadays take time to think what a really mar- 
velous thing they are. 

They bring kings and queens from Europe and put 
them through their paces upon a white screen for the 
delectation of anybody who has the small price of admis- 
sion to a picture show. They show the Emperor of 
Germany being dusted with a whisk broom by a lackey 
preparatory to receiving a portion of his army. They 
show the Czar of all the Russias straightening out the 
tails of his gold lace-covered coat preparatory to par- 
ticipating in the dedication of a cathedral. They show 
the little children of the King of Spain at play. 

They go into the heart of Africa and bring back- 
jungle scenes. They picture hunters trailing and fighting 
the lords of the forest. They show the canals and build- 
ings of Venice, the busy Thames, and mountains of 
Switzerland, the far interior of China. As educators 
they are already worth a great deal and should be worth 
a great deal more. And they are a force in the interest 
of democracy. It was customary for a long time un- 
royal folks to suppress photographs of themselves if the 
pose was neither majestic, gracious nor regal. But the. 
films show up any little peculiarities in their gait and 
reveal them as hut men and women after all. Much of 
the "divinity that doth hedge a king" is wiped out when 
the moving picture camera is trained on him. 

Even to enumerate the uses to which moving pictures 
already have been put would make a tiresome list and 
the end is not vet. 



ILLUSTRATE MANUF. ICTl 'RING PROCESS. 
In order to give the engineering profession in general 
a clearer idea of the manufacturing processes of its vari- 
ous products, the Sicmens-1 lalske Company, of Berlin, 
has lately furnished lecturers with moving picture films 
showing the procedure in the making of incandescent 
lamps and various apparatus and machinery. Such lec- 
tures have been given in Germany, Sweden and Switzer- 
land and have been received with much interest. 



Superintendent II. G I'vman of the Massilloii. Ohio. 
State Hospital, has obtained a moving-picture machine 
small enough to be attached to any electric light socket, 
and the life of the bedridden patients in this hospital is 
now a great deal more bearable owing to the pleasure 
derived from viewing motion pictur. 



August 23, 1913 



MOTOGRAPHY 



121 



Betzwood on the Perkiomen 

Lubin's Million Dollar Estate 



BETZWOOD spreads its length and width over five 
hundred beautiful acres which divide themselves 
into farm sections, forestry tracts, meadows which 
stretch a carpet of red clover to the edge of a distant 
creek, hills which make for the further beauty of the 
scenery, miniature water-falls, a park with well-cared-for 




The Gate at Betzwood Manor. 

flower-beds, and the proverbial "Lovers' Lane" ; and 
there are the private grounds and buildings of the Betz- 
wood estate, the studio and factory. 

"Lubinville" is the name chosen for this wonderful 
five hundred-acre tract and it is right and fitting that the 
title "Betzwood" gives way to one symbolic of its new 
owner. And its new owner, by the way, is as pleased 
with his little purchase of something more than one mil- 
lion dollars worth, as are his grand-children, Kingsley 
and Emily, when a new and lively record is secured for 
their Victrola. As proof that he really likes it and takes 




Siegmund Lubin's Lodge at Betzwood. 



pleasure in the wonderful manor place, Mr. Lubin has 
given over the bulk of his business into the superintend- 
ency of his son-in-law, Ira M. Lowry, and spends the 
majority of his time at the Betzwood estate. 



"When a man takes pleasure in his work, the best is 
not too good," said Mr. Lubin, "and I believe I could not 
have bought anything more beautiful than Betzwood." 

It takes a day's riding to cover the estate, which 
soon will be universally known as that of "Lubinville." 
The entrance is by the way of a heavy iron gate which 
swings between turreted stone walls. The long driveway 
between even rows of elms takes you to the studio, but 
if the day be a fine one the studio is sure to be deserted 
as the two stock companies, regularly kept at Betzwood, 
will be working out-of-doors. 

The factory, though, is an ever-busy place and, be- 
cause of the fine treatment accorded the factory employ- 
ees, there are many more applicants for work there than 
the factory heads can employ. 

And is it any wonder, when you learn that in the 
big dining-room, in connection with the factory, a noon- 
day meal is served gratis to the employees, that the 
grounds in the vicinity of the factory are theirs for their 
hour or more of recreation and that the average wage 
paid to the girls employed in the factory is nine dollars 
and fifty cents per week? 



! . 






Bht „ : ' -_ ** 








jA%^ff EV^ ~ 




/ J ^§H HHp^'. 


~ •*«*.,. . liny 


■KM.'/ 


;--?K\.f* •; 


• 


■^™^™ 







The Conservatory at Betzwood Manor. 

These are facts not given out by Siegmund S. Lubin, 
but true, nevertheless. Furthermore, tennis courts are in 
the process of making, out at Betzwood, and are to be 
shared by the factory workers and the stock companies. 

As you sweep away from the factory and studio 
locations you follow a road which takes you through 
pretty bits of scenery. You see the Betzwood Manor in 
the distance ; the approach to it is a beautiful one and 
also brings into view the conservatory with its wide 
stretch of smooth lawns, and a fringe of monster trees. 
The manor itself is an imposing structure with gables, 
wide verandas and many rooms, and is the winter home 
of the Lubins; their summers being spent at Atlantic 
City. 

Another ride through shaded valleys, a picturesque 
wood and across a quaint bridge and you come to the big 
meadow where three hundred head of cattle graze. They 
are the property of the manor-house, as are also the 
more than one hundred horses and, in the farmyard 
nearby, the other live-stock and poultry found there. 



122 



MOTOGRAPHY 



Vol. X, No. 4 



A continuance of your ride takes you on a tour of 
the fifty farms, into which an extreme portion of the 
estate is divided. This portion of the estate has an histor- 
ical significance, as it was here that the army crossed on 
its way to the battle of Princeton. 

Taking a different route on your return you come to 
the manor lodge, which has a pleasant situation on the 
banks of the Perkiomen river, a branch of the Schuylkill. 
Fishing, swimming and boating are good here and, in the 
fall, the lodge will be the popular week-end resort of 
Mr. Lubin's friends of the gun club. 

Almost any location needed in the taking of pictures 
is available at Betzwood and, when your day of inspec- 
tion is at an end, you agree with Mr. Lubin that it's a 
place well worth the little more than a million which made 
the name of "Lubinville" available. 



Film War Scene on Lubin Estate 

War, shorn of its repellant features but otherwise 
as thrilling and realistic as the real article, was viewed 
not long ago by Philadelphians for the price of a railroad 
ticket to Betzwood manor, the big country estate of 
Siegmund Lubin, motion picture magnate, on the banks 
of the Schuylkill river. The estate contains 500 acres, 
two miles of water front on the Schuylkill river, more 
than 150 Texas bronchos, fifty head of fine Jersey cows, 
sheep, pigs, chickens and dogs galore. There are also 
geese, ducks, pigeons and turkeys, all of which manage 
to get into the limelight of the film occasionally. 

Several thousand boys, girls and their parents 
flocked to Betzwood manor when a big battle picture was 
to be taken recently. The weather was clear and abso- 
lutely perfect for the advantage of the camera men and 
players. The military display was imposing; nearly a 
thousand men, in war begrimed uniforms, were camped 
with wonderful realism— tents, commissariat depart- 
ments, hundreds of horses and ten big guns. Siegmund 




"The Battle of Shiloli," produced at Betzwood. 

Lubin, Ira M. Lowry and Colonel Joe Smiley directed 
the taking of the picture of which five realistic scenes 
were run off by the battery of a score of cameras. 

The din and crack of musketry and roar of the big 
guns was deafening. Men and horses dropped as if 
(kad, while others rode over them, fighting to the last 
ditch. The cheers of the visitors could be heard for a 
mile and John Smiley, who played General Grant, came 
near losing his whiskers and all of his buttons in the 
mad rush of congratulations. The cameras being 
stopped, the pickets permitted the visitors to close in and 
hunt the held over for souvenirs, shells of the bombs, old 
bayonets, etc. These were eagerly seized upon. 



Vitagraph's Two Reel Comedy 

As the two-reel special of August 23, the Vitagraph 
Company of America will release "The Feudists," a 
two-reel comedy in which the leads are enactd by John 
Bunny and Flora Finch. The entire picture is said to be 
bubbling over with rollicking fun and calculated to bring 
a chuckle from the worst pessimist alive. 

Briefly the story runs along like this : The Smiths 
and the Craigs, next door neighbors, are the best of 
friends. Their oldest children, Jessie and Tom, are in 
love with each other, while the younger ones always play 
together. Nellie Smith and Sydney Craig, the youngest 
in the two families, are great chums, although it is 
through their childish play that the rift is brought about. 

Smith buys some chickens and builds a small 
chicken house in the garden, which is separated from the 
Craig garden only by a low hedge, through which there 
is a passage connecting the two. He goes to fetch Craig 
to show him the chickens and finds him busy planting 
some seedlings. They have a little argument as to the 
respective merits of their hobbies, but all ends pleasantly 
enough, each convinced in his own favor. 

War commences, however, when Sydney, who has 
been invited by Nellie to see the new chickens, manages 
to let down the wire fence surrounding them. The chick- 
ens get out, entering Craig's garden and work havoc 
among the seedlings. Each blames the other's child and 
the families cease to recognize one another. A spite 
fence is erected betwen the two gardens, entirely sepa- 
rating them, while the parents each forbid their respect- 
ive children to hold intercourse with their neighbor's 
"bra fo -.' 

Jessie and Tom return from school and college 
about the same time and are much surprised at seeing 
the fence. It does not bother them much, however, for 
thev get ladders and kiss one another over the garden 
wall. Their parents catch them at it and warfare is 
actively renewed, torrents of abuse passing from one 
side of the fence to the other. 

One day Smith, who is on a ladder looking over the 
wall and abusing Craig, misses his footing and falls into 
Craig's garden. Mrs. Smith follows her husband to 
assist him and a fight at once follows between the two 
women and the two men, in which their families nobly 
assist. 

Tom sees his opportunity and upsets Craig's bee- 
hives, with the result that both the Smiths and Craigs 
are driven to seek refuge in the barn. Tom locks the 
door on them and refuses to let them out unless they will 
consent to his marriage with Jessie. 

A slight incident in the barn serves to bring about a 
reconciliation between the two families and they joy- 
fully agree to Tom's proposal. They emerge beaming 
and at once set about pulling down the spite fence that 
has caused so much trouble between them. 



Cines Brings Spanish Actors to Rome 

George Kleine, who has exclusive American rights 
for all Cines productions, announces the receipt of im- 
portant advices from the Cines Company concerning the 
importation of seventy-five actors and actresses from 
Spain. These people were especially engaged by the 
Cines Company for a series of spectacular Spanish plays. 
Several thousand Spanish costumes are now being made 
up in the big wardrobe department of the Cines Com- 
pany and painters are busy with a number of magnificent 
sellings. The productions are all under the direct man- 
agement of Director Guazzone, the producer of "Quo 
Yadis." 



August 23, 1913 



MOTOGRAPHY 



123 



"The Power of Conscience" 

Francis X. Bushman Featured 



71 /T ANY gripping situations occur in Essanay's next 
/ V\ tvr0 ~ ree l special entitled "The Power of Con- 
science," in which Francis X. Bushman is being 
featured. 

Mr. Bushman's art alone would make this picture 
one long to be remembered, but a well managed scene 
of an explosion in a coal mine serves still further to 
make this two-reel subject a real feature. 

The story begins in the home of Mrs. William 
Waters, who has just received a letter from her son 
Byron, who is a foreman in a coal mine at Zeigler, 111., 
informing her that he is going to return home for a 
short visit. In the letter Byron tells his mother not to be 
surprised if he brings home a new daughter to her. The 
Rev. Stanley Waters leans over his mother's drooping 
shoulders and smiles as he reads the contents of the 
letter from his brother. We next see Byron Waters 
checking time as the coal miners leave the levels, having 
finished their day's work. 

Edward Hale, a miner, becomes infatuated with 
Dora Gordon, Byron's sweetheart, and tries to win her 
in spite of her engagement to the foreman. Byron later 
comes face to face with his sweetheart Dora, struggling 
to free herself from the now infuriated Hale. A battle 
of words follows, and Hale leaves the scene a whipped 




Scene from "The Power of Conscience." Essanay. 

man. Dora's father, thinking his daughter too young 
to think of matrimony, tries to discourage her by using 
drastic measures. Farmer Gordon orders Byron from 
his premises, and tells Dora there is plenty of time to 



think about getting married, and when the time comes 
she should marry the man of his choice, Edward Hale. 
From a distance Hale watches the dogged face of 
Byron and smiles sneeringly at the lover's defeat. That 




Scene from '*The Power of Conscience. 1 



Essanay. 



evening Farmer Gordon sets a trap for chicken thieves 
in his hen house by placing a large single barreled shot- 
gun in the doorway and attaching one end of the cord 
to the trigger and the other to the doorknob. 

Hale discovers cupid's secret mail box in which 
Dora and Byron place their letters of love, and finds a 
letter in the hollow of the old tree from Byron telling 
Dora that he is going home and would like to see her 
before his departure. Hale forges a note in Dora's 
handwriting, asking Byron to meet her at the chicken 
house that night at ten o'clock. Byron arrives at the 
fatal spot and is rewarded for his faithfulness by being 
killed. The report of the gun brings Gordon and his 
daughter to the scene, where they find the lifeless form 
of Byron. The note is found, and Dora, weeping, tells 
her father she knows nothing about the note; that she 
did not write it. Hale also rushes to the scene of the 
disaster and is given an accusing look by Dora. 

The Rev. Stanley Waters is notified of his brother's 
death and departs post haste for the mining town, where 
he determines to live in an outer shell, to be the man, 
not the minister, and avenge his brother's death. At the 
hotel he is directed to Dora's home. She tells him the 
circumstances of Byron's death. Hale passes and is 
invited by Farmer Gordon to meet Byron's brother. He 
refuses, offering an excuse. Rev. Waters returns to the 
hotel with a scheme in his mind to discover the murderer. 
Circulars are passed out by the minister of the gospel 
to the guests and loungers in the hotel lobby, and they all 
consent to attend a sermon that night to be preached 
by the Rev. Waters on "The Power of Conscience." 
Hale, who happens to be in the hotel at the time, tears 
his circular into shreds and throws them on the floor. 
He is finally persuaded to attend the meeting by the 
brother of the man he had caused to die. 

That night the small hall is crowded- to capacity, and 
as Hale enters with a sneer on his face Rev. Stanley 
Waters begins his sermon. With reason to believe that 
Hale was responsible for his brother's death, Rev. 
Waters directs his sermon straight to the nervous figure 



12- 



MOTOGRAPHY 



Vol. X, No. 4 



crouched in a seat at the rear of the hall. And when the 
minister, in his oratorical manner, tells the congregation 
that "it is conscience that instills fear into our hearts and 
makes cowards of us all," Hale draws back in his seat 
and becomes ghastly pale. After the sermon Hale's con- 
science takes him back to the scene of Byron's death, and 
every place he goes he sees the vision of the deceased. 

The following morning Rev. Stanley Waters and 
Dora visit the coal mine and are lowered in a bucket to 
the bottom level. Here they see the miners at work 
and recognize Hale among them. Dora and the minister 
leave after having seen the mine. Crazed by his con- 
science, Hale again sees the vision of Byron in the mine 
and lights a match to see if his eyes are telling him the 
truth. The next instant coal and debris are flying in all 
directions, as the deadly fumes ignite. 

The explosion brings everybody in the small town 
to the scene and Rev. Stanley Waters volunteers to go 
into the mine and save whoever he can. Struggling 
through the smoke and burning timbers, he finally falls 
over the prostrate form of Hale. Removing the beams 
that have pinned Hale down, he carries him to the top 
and on to safety. A few clays later, on his death-bed, 
Hale confesses to the minister that it was his fault that 
Byron had come to an untimely end. 

The cast is as follows : 

Rev. Stanley Waters Francis X. Bushman 

Byron Waters, his brother Bryant Washburn 

Mrs. Waters, their mother Helen Dunbar 

Dora Gordon, Byron's sweetheart Dorothy Phillips 

Farmer Gordon, Dora's father Frank Dayton 

Edward Hale, a miner E. H. Calvert 

"The Power of Conscience," which was produced 
by Director Wharton, will be released on Friday. 
August 22. 



white robed figure, Christ, approaches and dissolves into 
The Presence. 

In part one, which is entitled "The Evil of Idleness," 
we are shown a miserly old man, who exacts toll from 



"Conscience?" 

"Conscience?" the first release of the Conscience 
Film Company of New York, whose production is made 
with the permission of the Colorgraph Company of 
America, is now ready for the market and has already 
been highly endorsed by prominent divines of all de- 
nominations, besides having been sanctioned by the Board 
of Education of New York City. 




Scene from Part I of "Conscience." 

The picture is in four pafts, exclusive of a prelude 
and an aftermath. The prelude begins with the sub- 
title "And when lie came near lie beheld the city. St. 
Luke: 19, 14." Out of a sunrise along the Palisades a 




Scene from Part IV of "Conscience." 

women of the underworld and maintains his son in 
luxury and idleness at college. Later, the son becomes 
enamored with a girl of Chinatown and unwittingly is 
involved in the robbery of his father, but is saved by The 
Presence. 

, Part two is called "The Evil of Cheating," and is 
staged in a New York public school. During examina- 
tions one of the students is tempted to cheat in answer- 
ing her questions but her "Conscience?" prevails for the 
better. Part three, known as "The Evil of Gambling." 
begins with a poolroom scene in which the gambler loses 
all his money, while his family suffer at home. A newly 
awakened "Conscience?" causes him to see his errors. 
In part four "The Evil of Dissipation" is shown, and 
we are taken to a lobster palace and witness the dissipa- 
tions into which the thoughtless are sometimes unwit- 
tingly plunged. It is a typical New York cabaret scene. 
Then comes the aftermath. After reawakening our 
"Conscience?" in all these scenes the figure of Christ is 
seen to dissolve into the sunset and disappear into the 
distance. 



Miss Robert's "Sapho" Filmed 

Florence Roberts, who for years presented "Sapho" 
in all sections of the country, has been persuaded to do 
it before the moving-picture camera, so that posterity 
might know what Miss Roberts considered high art. 
New Majestic did the persuading. With the star a num- 
ber of other "legitimate" favorites have been signed for 
the film production, not the least among them being 
Shelly Hall, well known to Broadway. All the recently 
added stages at the Majestic Los Angeles studios have 
been pressed into service for the "Sapho" production, 
resulting in "sets" of greater dimension than any the 
Majestic directors have so far shown. Special scenic and 
property departments were organized for the feature. 
It is said that Miss Roberts is to collect a royalty on the 
sale of the film, expressing a preference for this mode of 
payment, as against a lump sum for her work and the 
use of her name. The number of reels that will be 
released hasn't been settled yet, but around five reels is 
the studio guess. The production cost will run well into 
the thousands, as reports go. 



August 23, 1913 



MOTOGRAPHY 



125 



Sans Grease Paint and Wig 

By Mabel Condon 




MARY PICK- 
FORD ' S 
dark eye- 
brows and hazel eyes 
were quite as I had 
imagined them, but 
the blonde curls that 
bobbed from under 
her straw hat were a 
distinct shock, as I 
had always believed 
Mary to be a brunette. 
Not that anybody had 
ever told me she was ; 
I just imagined it 
from my acquaintance 
with her on the screen 
and the screen, you 
know, has the faculty 
of converting blondes 
into brunettes with 
neither excuse nor 
Pickford. warning to the blonde 

so converted nor the 
picture patrons so deceived. So Mary is a blonde. 
"Have a chair," invited Mr. Schulberg, he of the 
publicity department and the scenario editorship of the 
Famous Players' Company; also the Mr. Schulberg of 
the honeymoon flat over in Jersey, and who is so new a 
groom that he still brings unexpected company home 
to dinner. "When Mary is through with this scene she'll 
take you to her dressing room," continued Mr. Schul- 
berg, and with that promise I accepted the chair and 
sat back to watch Mary's debut at boarding school and 
to forgive picture screens in general their deception as 
to Mary's curls. 

The scene being rehearsed was one from the story, 
"Caprice." Six times did Mary bob and smile her little 
"love-me" smile in introduction to the stylish young 
ladies who were to be her schoolmates and who had 
lots of fun at the expense of Mary's pathetic jacket, 
her rustic hat that tied under her chin and the beruffled 
skirts that dipped five or more inches at the back ; six 
times did Mary lovingly brush her father's carpet bag 
with the front gore of her skirt and six times did she 
throw her arms about his neck and caress the sleeve of 
his coat in a brave farewell. 

Then, but not until then, did the brow of Director 
J. Searle Dawlev rid itself of four or more superfluous 
lines and he bellowed the signal, "Go!" Three clangs 
of a bell brought carpenters and everybody else in the 
studio, but not in the scene, to a full stop. Mr. Dawley 
poised himself on the outside edge of the stage setting 
in readiness to hurl forth instructions and the camera 
man loomed up as "the man of the hour." 

It was all over in one and one-third minutes and 
eighty feet of film, and Mary walked from under the 
blue-green lights to where a plump, dark-haired lady 
was sitting. As we approached I heard Mary say, 
"Hello, Mother dear." The dark-haired lady answered. 
"Hello, Mary darling," and then I experienced the full 
wonder of a Mary smile as Mr. Schulberg introduced us. 
"If you don't mind, we can talk while I dress for 
the next scene," suggested Mary. I didn't mind, and 



in a few minutes Mary was seated in front of her dress- 
ing table brushing her thick curls over her left fore- 
finger and telling me that she had been working hard 
— just as I had seen her — since 9 o'clock that morning, 
but that she didn't get tired — not very tired, anyway 
— because she likes picture work so well. 

"While I was playing in his 'Good Little Devil.' 
Mr. Belasco used to read interviews in which I'd say 
1 liked pictures better than the stage," laughed Mary. 
"But I do like them better — though I'm going back with 
Mr. Belasco's company in the fall ; meanwhile, I'm doing 
the work I like best." 

"And what do you do when you're not working?" 
I asked from the depths of the most comfortable chair 
I've ever seen in a dressing room. 

"Live in a bathing suit," replied Mary, putting down 
her white-backed brush and beginning to pin up her 
curls. "We have a house at Beechhurst, Long Island, 
and I stay in my bathing suit all day ; that is, the one 
day of the week that I'm there," she amended, as she 
applied a second amber pin by way of a reprimand to 
the little curl over her left ear. The little curl promptly 
slid back into its original position, and Mary continued : 

"It's glorious out there in the evening, too — only 
for the mosquitoes ! I don't believe they eat a bite until 
I arrive and then they all pick on me " 

"Why, Mary, what's that?" came the alarmed voice 
of Mary's mother, as she appeared in the doorway. 

"Mosquitoes," answered Mary demurely, and Mary's 
mother breathed a relieved "Oh" as she took possession 
of the rocker under the electric fan. 

"And it's so dreadfully quiet there nights that it's 
spookey. Last night — " Mary paused to insert a final 
pin where she thought it would do the most good, then 
turned around and continued — "I was sure somebody 
had broken into the house " 

"For what?" Mary's mother wanted to know in a 
calm voice. 

"Oh, for — I don't know what for," Mary went on, 
"but, anyway, I was sure somebody had broken in ; I 
could even hear him walking around downstairs and I 
wanted a drink so badly, but I was afraid to get up 
and get it, so I just waited until it was daylight and 
then I got two." 

"And the man who 'broke in ?' " I suggested ex- 
pectantly. 

"Well, he wasn't there this morning," Mary's muf- 
fled voice informed from the wardrobe bag into which 
her head was poked in the effort to choose a costume 
for the next scene. 

"No, nor last night either," said Mary's mother, 
and that settled it. 

Mary emerged from the bag with a pearl-gray suit 
and a sheer white waist with a quantity of ruffles on 
the collar and down the front. 

"Hope this won't make me look fat," she remarked, 
as she studied the effect of the ruffles in the glass and 
arranged the waist line of the gray skirt with its white 
silk drop. "I wouldn't be 'little Mary' any more if I 
got fat," she smiled. "I try not to look any littler than 
I can help — though I like that title the people gave me, 
'little Mary.' because I feel they call me it through 
liking, and I love to please the people. There — " don- 



126 



MOTOGRAPHY 



Vol. X, No. 4 



ning her coat and turning around for her mother's in- 
spection, "am I all right, mother?" 

"Yes, you look very nice," her mother answered. 
"What hat are you going to wear?" 

"Mercy ! I didn't bring a hat with me," wailed Mary. 

"Try mine," Mary's mother advised, removing her 
small white hat. Mary sat it jauntily upon her curls. 
It looked as though it belonged there, and Mary said: 
"Now, I'm ready. Will you come out and watch this 
scene and come back with me again ?" 

"Delighted," I answered, and Mary hurried away 
to the blue-green lights of the stage setting and Mary's 
mother and I found chairs where we could see every- 
thing, and I asked Mary's mother how and when Mary 
started her stage work. 

"In the Valentine Stock Company when she was 
five years old," said Mary's mother, who really looks 
very much like Mary, or Mary looks like her, rather. 
Mary's mouth is distinctively her own, however; it's 
the only one of its kind in the world, I'm sure. 

"The man who owned the company saw Mary and 
asked to have her for a part he had in mind. He said, 
T think you could do it, Mary,' and Mary said, 'I'm 
sure I could.' So she did and has played every stock- 
child part since then." 

"Do you want to tell me how old Mary is?" I asked, 
and she replied: "Yes; Mary doesn't mind. She is 
nineteen and was born in Toronto, Canada." 

A roomful of girls burst into the set and rehearsals 
were on. It was the closing of the school year and 
everybody was saying good-bye to everybody else, and 
parents and guardians were calling for their girls. And 
Mary offered a big contrast to the Mary of the pre- 
ceding scene. Only two rehearsals were necessary this 
time and when the camera man had taken two "stills" 
and some of the girls were wondering if that would be 
all for that day, Mr. Dawley announced, in a voice that 
could be heard on Broadway (almost) : "Get ready for 
the dormitory scene. Get your nightgowns on — and 
remember, girls, no street clothes underneath!" 

There was a dismayed "Oh-h-h-h-h !" from a group 
of "extras," but Mr. Dawley paid no attention to it, and 
Mary, her mother and I returned to Mary's dressing 
room, where Mary had to take her hair down and make 
ready to carry a girl through the hall and down the stairs 
of the dormitory, which was to be set on fire. 

"I hope you don't get your hair burned, Mary," 
worried her mother. "If I were you, I'd pin it up." 

"No, that wouldn't look like really and truly night 
time," said Mary, and then: "Gracious! I've lost my 
stockings — my white ones! I simply must have stock- 
ings—-" as she hurriedly went through a suit case and 
traveling bag and her mother investigated the hooks on 
the north wall. "And I have only a few minutes " 

There was a violent rap at the door and a man's 
voice called : "Mary, 1 want to borrow your night- 
gown." 

"All right," answered Mary, and handed it out 
through a crack- in the door. "That's the property man. 
I have to have another exactly like it for the next scene 
and he bought that one yesterday, so he knows where 
to gel the other. But if I don't find my stockings " 

"Here they are," and Mary's mother advanced tri- 
umphantly from the vicinity of the north wall hooks. 

"( )h, thank you, mother. Yes, I remember now 
that I hung them just there." 

During the wait for the property man to return her 
gown Mary asked if I thought she resembled Mary 
Fuller. She had been told repeatedly that she did. 



There is a resemblance, but it is more striking in the 
pictures of the two Marys, as then their hair looks to 
be the same color. 

"I admire Mary Fuller very much. I've never met 
her, though I tried to on Edison night at the Exposition, 
but she had gone home. Sometimes " 

The knuckles of the property man sounded on the 
door and when the- gown had been admitted and donned, 
Mary resumed her position on the sofa; and continued : 
"Sometimes I stop and think of all the motion picture 
people who are working at that very minute, and I 
wonder just what Alice Joyce is doing and what parts 
are being played by the people of the Western com- 
panies. I think it's wonderful, the bigness of it all." 
I admitted it was wonderful and was sorry Mary hap- 
pened to glance at the clock just then, as it reminded 
her that it was about time for the next scene. 

"Maybe I'll see you in Chicago this winter," she 
said, slipping a long coat over her dishabille. "I'm going 
to play there for a month, you know." 

"Everybody ready?" called Mr. Dawley. I wasn't 
going to stay for the dormitory scene, so said good-bye 
to Mary outside her dressing room door. With a hand- 
shake and a smile, Mary joined the groups of white- 
robed figures that came from the various dressing rooms 
and I returned to my hotel feeling much the richer by 
virtue of having met "little Mary," received two of her 
very latest photographs and known the fascination of 
Mary's "love-me" smile which makes everybody do just 
that." 



"Wisconsin Association Organized 

About fifty exhibitors of the State of Wisconsin 
met in the colonial room of the Plankinton House in the 
city of Milwaukee on August 31 for the purpose of 
receiving a report of its delegates to the New York 
convention. After hearing the report of Charles H. 
Phillips, national president of the International Mo- 
tion Picture Association, corroborated by W. J. 
Sweeney, national director of the International Motion 
Picture Association, and other delegates to the New 
York convention, the manly action of the Wisconsin 
delegates was unanimously ratified, and the International 
Motion Picture Association of Wisconsin was immediate- 
ly organized by the election of the following officers : 
Roy Cummings, of Madison, president ; B. K. Fischer, 
of Milwaukee, national director ; Henry Trinz, of Mil- 
waukee, first vice-president; A. F. Baum, of Manitowoc, 
second vice-president; George Frellson, of Waukesha, 
secretary ; Frank Cooke, of Milwaukee, treasurer. 

The meeting was enthusiastic and a great deal was 
accomplished owing to the interest taken by the mem- 
bers present, due principally to the fact that the delegates 
to the national convention took the manly stand against 
the gag and one man rule display in the old organization. 

Resolutions were passed favoring a censor by the 
National Board of Censorship of all pictures displayed 
in the motion picture theaters in the state of Wisconsin; 
also favoring three reels for five cents. Many other 
important resolutions were adopted, affecting the rights 
and interests of the motion picture exhibitors in the state 
of Wisconsin. A committee on constitution and by-laws 
was appointed for the purpose of drafting the constitu- 
tion and by-laws for the Wisconsin Association. 

You will observe, my honest friend. 

Wherever you may go, 
The world is nothing more or less 

Than a moving-picture show. 



August 23, 1913 



MOTOGRAPHY 



127 



On the Outside Looking In 

By the Goat Man 



ACCORDING to the Bill- 
board, the bolting dele- 
gates of the late m. p. 
convention were "a brainless 
brigade of disorganizing disturb- 
ers," which is quite important, 
if true. It has been my observa- 
tion that exhibitors in general 
were approaching a standard 
quite on a par with men in other 
lines of trade, but maybe I need 
an oculist. I had not known 
that the exhibitors of Illinois, 
Indiana, New York and Wiscon- 
sin were brainless. My fancy 
had led me to believe that the 
scene of the New York exposi- 
tion and convention was the cul- 
mination of intelligent effort. 
Harking back to a year ago, 
there still remains a recollection 
of similar sane handling of a 
great convention — a task which 
must be credited to the Illinois 
members who have since been 
deprived of their reasoning fac- 
ulties. Exhibitors of those cities 
of New York, Brooklyn, Albany, 
Schenectady, Utica, Rochester, 
Pittsburgh, Buffalo, Indianapolis, Chicago, Milwaukee, 
Minneapolis, St. Paul and Duluth, including hundreds 
of other less important places are brainless, according to 
"Old Billyboy." It is a fine commentary. I wonder 
what kind of stuph it uses in its hypodermick. 

sf: ^c ^c 

Old Billyboy is doing a lot of things in these hot, 
sunshiny days to discredit the motion picture business. 
It says : "There is no Motion Picture Exhibitors' Asso- 
ciation." Sam Trigger would not agree with such a 
statement. The Motion Picture Exhibitors' Association 
has a New York charter. What the Billboard meant 
to say may be conjectured. It has intimated that there 
is an official organ of the International M. P. Associa- 

_ 

tion. That is news to the oldest member. But, of 

course, "The Billboard knows." 
* * * 

Alex. Wall of Birmingham tells Mr. Neff that "It 

is a godsend that I was not able to be with you in New 

York, as I might have got licked." I was right there 

and I'm sure the Alabama man wouldn't have been in 

danger. Only one man laid himself liable to a licking 

and he escaped. 

^ ^ ^ 

Why all the hullabaloo about the convention bolt? 
Men have a right to their opinions and when they agree 
to disagree and go about it in orderly manner, that 
shouldn't be anybody's business but their own. The 
league got what it wanted and the association got what 
it wanted. Two competing organizations will probably 
succeed in getting all the exhibitors into one or the other 
of the camps. Every exhibitor should belong to the 
organization which he believes will help him. I believe 
in organization. I also believe that organized exhibitors 
should stand on their own bottoms — should defrav all 




the legitimate expenses of their 
conventions. If manufacturers 
want to entertain the delegates, 
that is all well enough ; but the 
exhibitor organizes to help him- 
self. To help himself in the 
most satisfactory manner, he 
should be under no obligation to 
the manufacturer or renter. In 
other words, the cost of the 
convention should fall upon the 
organization holding it. Dele- 
gate expenses to and from the 
convention are borne by the 
branches of the national body — 
the convention expense itself 
should come from the funds of 
the national body. The seeking 
of donations, the soliciting of 
advertising for programs, is in- 
directly placing obstacles in the 
way of greater and more impor- 
tant favors. If exhibitors want 
to profit by the experience of 
other organized trade associa- 
tions they will come down to 
their own purse for all their own 
expenses. 



Donald Anthony Meaney and Charles Lang Cobb 
have joined the procesh with weekly bulletins. Gee ! but 
there's lots of ways to spend money. 



I wish George Balsdon would hurry up and plant 
a few poster branches out West. There's a reason, and 
it isn't grapenuts, either. 

* * * 




Edison company now in Maine. From left to right they are : Pho- 
tographer Kugler, Harry Beaumont, Bliss Milford, Frank McGlynn, Man- 
Fuller, Augustus Phillips, Elsie McLeod, Richard Neill, Walter Edwin 
(director) and John Sturgeon. 

^c ^c ^c 

J. E. Willis, former special representative of Gen- 
eral Film Company, with his garage in Cleveland, has 



128 



MOTOGRAPHY 



Vol. X, No. 4 




Romain Fielding (Lubin) and his New Mexico Company. 



moved over to Chicago. He hasn't been up to see me 
yet. Somebody has told him I haven't got a fan. 

* * * 

I wonder when Toomey substituted nut for mutton 
in his name. Maybe Old Billyboy knows. It knows 
nearly everything about the m. p. game. But then, 
there are some things it will get hep to if it doesn't 
strangle that man Kellogg. 

* * * 

Big Dick Edmondson of Lunnon is back in New 
York again with a new line of samples. From what 
I gather by wireless, he's helped out the Exclusive pro- 
gram quite a bit with a bundle of new brands. Will 
Joe Miles please fix up the box score that we are trailing 

on the release pages? 

* * * 

And now they threaten to put 'em on ocean liners. 
I was week-ending at Wawasee Inn and part of the 
entertainment for guests was a picture show in the ball- 
room. I took to the lake. I am nol a believer in sticking 
too close to my business. 

1 saw a snappy rural drama a few nights ago all 
done in a thousand feet. And then I drilled over to 
my cut and pondered over the multiple lengths. What 
is the object in stretching the single reel scenario all 
over the lot? The manufacturer says he does it to sal- 
isf\ the demand. Well, it's a manufacturers' proposi- 
tion, taken by and large, so I guess there is more money 
in selling footage. I am dead certain sure that the 
public isn't wishing these extra lengths Upon itself. 

* * * 

Suppose we took a stretch at Quo Yadis. There 
are four hundred and ninety-eight scenes in the eight 



thousand sixty-four footer. The imperceptible addition 
of six feet to a scene would add three more reels to 
that beautiful subject. If it was the foreigner's idea 
to sell on a footage basis, we might be kept all night 
looking at this one film. Oh, hum, it's terribly hot and 
dusty. 

Over on page fourteen of the advertising section 
is an announcement that we are to have Jack London's 
stories in films. H. M. Horkheimer says so. And 
thereby hangs a tale — several of them, in fact. It was 
about the time that Horkheimer blew in with his copy 
that our old friend, Hobart Bosworth. appeared on the 
scene with Frank Garbutt and his yacht and 11. T. Rudi- 
sill, and told us to wait. A pause would develop the 
right of Hobart to make the London stuff. And 
now. as we skurry to press, comes Jack London himself 
with the assurance that Bosworth is the guj who will 
make 'em. Well, that's a lot of noise as a siart. The 
old press agents always find the new ones pretty keen 
for the glad dope. Meantime, we are going to have the 
London stories in films, They ought to have the punch. 

* * * 

I always feel better when 1 discover that $50,000 
more has gone into a permanent m. p. house than into 

a new lilm subject. 

* * * 

Kinemacolbr is licensed by the M. 1'. Patents Coin 
pany a screech that should be noted in passing. This 
is more proof that it is worth while to be on the inside. 
Kinemacolor was created by film men, and now that it 
has proven itself worthy of recognition it has a right 
to rejoice. Personally, I have never believed in Kine- 
macolor as a whole show, but I have enjoyed it always 



August 23, 1913 



MOTOGRAPHY 



129 



when it became a part of the show. The ham in the 
sandwich makes the sandwich. A Kinemacolor reel as 
the second one of three will make the show for most 
of the people most of the time. I am curious to know 
how it will work into the big program. 
* * * 

Will somebody who knows please tell me what is 
making Lloyd Robinson so fat ? Fat is the word. Triflers 
are warned not to meddle. This is serious business. 



green from the unsophisticated; all the big fellows are 
planning bigger things ; all the little fellows are returning 
from vacations with lusty lungs; no one drops out; more 
are coming in ; Whistling Saunders has quit writing ; 
the Billboard has discovered that it doesn't know it all ; 
Charlie Hite has a yacht; exchanges are increasing their 
orders — all indicate activities three weeks ahead of 
schedule. It will be a smashing business when it gets 
into its early fall gait. 



Harry Rush Raver is a show-me president who 
doesn't believe in wearing his arm off to the elbow with 
dopesters' dope and trust to luck and the mails. He 
wants you to sit up on the corner of his desk with a 
pad on your knee and jot it down while he whispers in 
your shell-like ear. Raver was a circus man, and he 
remembers what he used to get for eight seats for the 
night show — usually a column and a half in the country 
weekly. A half page, size 13x22^ inches, $6 to $11, 
paid in iron dollars at the wagon. Them were the 
happy days. But after all, it isn't fair to think that our 
waste paper basket is the biggest. 

% ^ 5$; 

Hector J. Streyckmans just couldn't resist the big 
feature films. He got the bug when he saw "The Battle 
of Gettysburg." He dug up his old history and read 
all about the fight. He learned that a bushel of wheat 
would plant an acre and that the soldiers destroyed the 
crop and the farmer lost his harvest. That was only one 
detail. When he could find somebody to go with him, 
he would go down to Doc. Willat's place and sit in the 
dark, and have the battle run off again. And he would 
talk war to beat the band. He liked the big film. Since 
then he has been scenting big stuff from afar. He now 
heads his own company, with no stock for sale ; has his 
own offices and proposes to deal in long lengths on a 
state's right basis. I wish him luck. 

^c ;*c ^c 

We are not hearing much from the Universal folks. 
J guess they have put bars on the windows and padded 
the walls. Yop, that's my guess. 
^ ^ ^ 

Mulling it over in my feeble mind, I figure there 
will be much doing from now right up to and through 
the winter. Linn and Oes have both stripped their upper 
lips for action ; Powers continues to get bundles of long 



It is a dull week when Pat Powers fails to score. 
I hope he hasn't taken the war out of Universal and 
put it in his newest venture. Wot? 
* * * 

Zowie ! If you are hot, look at the gallery bunch 
this issue. 

The "Alkali Ike" doll reached me contemporane- 
ously with this Essanay night message : The Goat and 
his royal staff. The famous "Alkali Ike" doll is now. 
yours. Sincerely yours, Don Meaney." And Ike, main- 
taining the film man's prerogative, proceeded immedi- 
ately to get my goat. If you look around a bit you will 
discover I got both Ike and the goat before I was 
through with them. 

- % % $c 

According to the dope sheets, Quo Vadis is the 
only film in the big race. It has smashed all theater 
records for summer, matched the best records of winter 
and packed Keith's Hippodrome in Cleveland with nearly 
thirty thousand paid admissions in a week. I wasn't 
kidding when I told you it was the ultimate in film pro- 
ductions. Mr. Kleine says he has others up his sleeve. 
Mercy, Mabel, when are you going up again? 

^ rj; ^ 

Stan Twist says his desk was burglarized while he 
was in New York. I didn't fall for it at all. It was 
John Pribyl hunting for the lead pencil he loaned to me. 
But I got it back to him eventually. Prove it by Mar- 
garet. 

^ ^ ^ 

I see that G. K. has bought himself a new Pierce- 
Arrow and boards by the boardwalk in Atlantic City. 
It is great, fellows, to find an eight-thousand footer 
with the punch in every inch. Meantime, Chris uses 
his Yiddisher Packard and I find the walking good. 




International Moving Picture Association of Wisconsin holding its first annual convention at Hotel Plankington, Milwaukee, Wisconsin, on 
July 31. The seven officers standing in the front row are: 1 — A. F. Baum, Manitowoc, second vice-president; 2 — E. K. Fischer. Milwaukee, 
national director; 3 — Frank Cooke, Milwaukee, treasurer; 4 — W. J. Sweeney, Chicago, Illinois national director; 5 — C. H. Phillips, Milwaukee, 
national president; 6 — Roy Cummings, Madison, state president; 7 — H. Trinz, Milwaukee, first vice-president. 



130 



MOTOGRAPHY 



i^oL. X. No. 4 



Some regular little meeting, that conference of 
Neff's with the brass-collars. Wonderful how 39,000 
(?) circulation stirs the fellows into action. 

* * * 

Thank you, Gunning, and Mrs. Cobb, I thank you, 
too. Where's Papa Cobb? 

'Jp 5-C ^ 

I have been at it for nearly five years and I'm 
still on the outside, looking in. But the skies are bright- 
ening. Now and then a film manufacturer will think 
of me and my work. He is sorry for the moment that he 
forgot to mail his copy for that last splurge he made, 
but it was an oversight, after all, that his publicity man 
hadn't taken some liberties with the appropriation. That 
will correct itself by-and-by. Exhibitors from out of 
town — those who are not too timid to venture up to 
the fourteenth floor — drop in to find out first-hand how 
little I know about their business ; exchange men — those 
who subscribe — come in here to see whether they will 
get their money's worth ; representatives of the makers, 
some of them, know where I keep the smokes for class 
A customers. Now and then I get day letters from afar 
and sometimes a cable — so I feel my apprenticeship has 
reached the halfway point, maybe. 
- # * # 

This much I know -for sure. The high-grade boys 
of the game are with me. And, fellows, I'm with you, 
first, second and third grades — it takes all of us to put 
it over, so we'll all pull for the big show. 

2fc *K ^ 

I am apt to pull down my sign over this department, 
say January 1, 1914. By that time Cutey will have a 
car of his own and won't care whether he has it all or 
not. 

* * * 

In the meantime, I'm not giving a half gallon of 
disinfectant with a year's subscription. 



not only the difficulty of the light. That is soon mastered. 
The temperature is where the real trouble comes from. 
If you take off your gloves and put your naked hand near 
the lens it is instantly covered with a film of ice that no 
mere rubbing will remove. If by accident you touch any 



Polar Photography Under Difficulties 

Chicagoans recently have had the privilege of wit- 
nessing the undying story of Captain Scott in motion 
pictures, and have seen on the screen at the Princess 
theater, Chicago, the films taken on the dash to the 
South Pole by the intrepid Herbert G. Ponting, F. R. G. 
S., London, England, official artist of the expedition. 
These pictures are certainly among the most remarkable 
ever shown on any screen, for they present in a life-like 
manner the record of one of the greatest and most tragic 
adventures of modern times. 

Many of the scenes present unique and hitherto un- 
known traits of the animal inhabitants of the polar re- 
gions, and Mr. Ponting was able to approach unusually 
near the creatures he was filming, as the various animals, 
never having seen a human being before, and consequent- 
ly knowing mi fear, had no hesitancy in approaching 
within a foot or two of the camera. 

Such pictures as "the killer whales after seals," 
"Weddell seals sawing ice with their teeth," "Mt. Erebus, 
the Polar volcano, in eruption," "Gulls stealing penguin 
eggs," "Penguin chicks hatching," "the midnight sun," 
and "The polar advance,' are the greatest features ob- 
tainable, and being little slices out of real life and not 
mere counterfeit presentments, staged in some studio. 
are far more interesting and thrilling than any feature 
photoplay. 

The difficulties which Mr. routing encountered were 
innumerable. Speaking of some of them, he said: "Com- 
pared with polar photography, everything is easy. It is 







JL 




j Jm 








XT^i*. 



Herbert Ponting, F. R. G. S. 

part of the brass apparatus of the camera it will burn you 
like a hot iron. On one occasion I was focusing when I 
happened to moisten my lips. The point of my tongue 
came in contact with the metal and froze there ; the 
shock was so great that I went over backwards, and when 
I recovered I found that I had lost the tip of my tongue, 
which w r as still frozen to the brasswork of the camera. 

"Once, when I was securing a film of a pair- of 
skua gulls in their nest at very close range. I was at- 
tacked by the parents so furiously that I was nearly over- 
powered. One of the pair swooped down upon me and 
struck me such a blow in the eye with its wing that for an 
hour I suffered the most acute pain and feared at first 
that I would loose the sight in that eye. 

"On another occasion, when endeavoring to induce a 
seal, weighing perhaps half a ton, to pose for its picture 
it suddendly plunged toward me throwing me to the 
ground and its teeth went through all of my clothes, 
drawing blood. This, I believe, is the only instance on 
record of a Weddell seal ever having bitten a man. I 
certainly invited the trouble though and probably got 
only what I deserved." 



Lawyer Was Mysterious "Lead" 

There's a mysterious leading man in Thanhouser's 
"Missing Witness," a two-reeler released Tuesday, 
August 12. William Russell is the regular leading man 
of the piece, as the district attorney, but playing opposite 
him is an impressive "attorney for the defense" who 
has never been known in a lead in a Thanhouser film 
hefore. The mysterious leading man was Jacob Ruskin. 
a genuine New Rochelle attorney, who was selected for 
the part for this tact. Director lleffron. whose long 
suit is types, had Ruskitl oversee the "dressing" of the 
court room scenes in the picture and then gave him the 
pari opposite Russell. And the lawyer, thoroughly at 
home in the court "set," makes a natural-working lead- 
ing man if an unknown one. 



August 23, 1913 



MOTOGRAPHY 



131 



Motographys Gallery of Picture Players 



T EANETTE TRIMBLE has won top-most fame in 
J the Kleine-Cines Company. She has constantly 
played leads in the biggest and best of Cines multiple- 
reel subjects for the past two years. When her health 

broke down she was 
compelled temporar- 
ily to leave the 
company and her 
many admirers will 
welcome the news 
that she will again be 
seen in Cines pictures 
in the near future. 
She has been identi- 
fied with the stage 
for a number of 
years, playing with 
several musical 
comedy companies in 
Paris. She sang in 
Grand opera in Ber- 
lin and toured the 
United States on two 
occasions; she speaks 
several languages flu- 
ently, is a deep reader 
and the inspiration of 
many of Cines' best 
stories. Miss Trimble has a pretty little home in the Alps, 
where she passed three months last summer in an effort 
to regain her health. In "Josephine" and "The Inven- 
tor's Secret" she is seen at her best. 




Jeannette Trimble. 



MAURICE ANVERSO is one of Kleine-Cines lead- 
ing men and is known to picture fans the world 
over. He is an actor of splendid promise and has 
already distinguished himself in many of the feature 

Kleine-Cines produc- 
tions. Maurice makes 
a splendid lover; he 
is by all odds the 
handsomest man in 
the K 1 e i n e - Cines 
Company, and bears 
the record of playing 
"heavies" quite as 
well as "leads," a 
dangerous experiment 
that most leading 
men are unwilling to 
try. He has appeared 
in the Kleine-Cines 
films for more than 
two years, is known to 
be a horseman of rare 
ability, and a man of 
great personal cour- 
age. Anverso is twen- 
ty-six years old and 
possesses a beautiful 
tenor voice. Prior to 
the Kleine-Cines Company, he 
as a professional singer and has 




Maurice Anverso. 

nth 



A NTHONY NOVELLI looks to "Quo Vadis?" as 
** his master triumph as an actor. He maintains bach- 
elor apartments in the Appian Way, a short distance 
from the Cines studio. Fond of music and painting, he 
won some fame as 
an amateur painter 
prior to his appear- 
ance on the stage. 
An initial engagement 
with a stock company 
in Naples paved the 
way for his appear- 
ance in pictures. His 
only noteworthy ex- 
perience has been 
with the Kleine- 
Cines Company, and 
he has played "leads" 
for them for the past 
three years. His face 
and mannerisms are 
familiar to picture- 
goers the world over, 
not only because of 
his wonderful inter- 
pretation of Vinitius 
in "Quo Vadis?" but 
for many other splen- 
did bits of character 
a "character 




Novelli. 



Anthony 

work. However, Novelli is not 
He is emphatically Kleine-Cines' 
leading man, but the difficult roles given him entitle him 
to the distinction of "character man" as well as "lead." 



man. 



his engagement 

contemplated a career 

a record of successes in musical comedy, being favorably 

known to theatergoers in the large European centers. 



T EAH GIUNCHI has played leads for the Kleine- 
*-< Cines Company for more than three years. Nat- 
urally, she designates "Quo Vadis?" as the very best 
thing she has done in pictures. She is twenty-six years 
old, rides like a Cen- 
taur, is a splendid 
swimmer, and a mas- 
ter with the foils. 
From the beautiful, 
serious-minded, reli- 
gious Lygia to the 
rough and ready girl 
of the West is a long 
step, yet that suggests 
Miss Giunchi's most 
remarkable ability. 
She can play the vam- 
pire woman, the bud- 
ding society belle, 
the widowed mother, 
the middle-aged 
woman of fashion 
with equal ease, and 
when it comes to 
jumping from a four- 
story building, hang- 
ing by her arms from 
the top of a high 
bridge, carrying on a knife duel in the middle of a stream 
of water, riding a bareback horse at breakneck speed, 
and doing similar hazardous stunts to amuse a fickle 
public, Leah is always the one selected for the work. 




Leah Giunchi. 



132 



MOTOGRAPHY 



Vol. X. No. 4 



Stage Head-on Collision 

On the Raritan river railroad, two miles out from 
South River, New Jersey, a head-on collision was pulled 
off by the Vitagraph Company recently with all the at- 
tending scenes which naturally follow a terrific wreck of 
this character. Two weeks previous to the performance 
of the wreck scenes, preparations had been going on in 
view of making it the most realistic picture ever enacted. 
There was no disappointment in the results. Five 
cameras were trained upon the point of contact to cir- 
cumvent any possibility of failure. Attached to one of 
the engines were three day coaches filled with people. 
The other engine was running wild beyond the control 
of the engineer and his assistant. The collision was so 
nicely timed that every detail in the exciting and un- 
precedented crash is shown, giving a perfect idea of 
what it means to those who have gone through and lived 
to tell their experiences in such an accident. The crash 




Results of the head-on collision. 

of the encounter was so great that the boilers of the 
engines were forced into each other like two tomato cans, 
telescoping inextricably. As flames burst forth, like the 
belching of a great furnace, the coal tender of the first 
engine was driven half way through the coach behind it, 
grinding it into kindling. Large bolts and other parts 
of the engine were thrown hundreds of feet away by 
the force of the contact. One section of the engine, 
weighing forty or fifty pounds, was thrown within three 
feet of one of the cameramen, who occupied a position 
some fifteen feet away from the point where the engines 
came together. Immediately following the catastrophe 
the work of rescue began. People were pulled from the 
doors and from the upper sides of the burning cars, car- 
ried in strong arms or on stretchers to a safe distance 
from the wreck to receive the attentions of kind admin- 
istering hands. When the nearby residents of the neigh- 
borhood heard that the wreck had taken place they 
flocked in droves to see it. When told that it was only 
a moving picture, they looked with open eyes and 
mouths, more puzzled and startled than ever. It was the 
fust time they had ever seen anything of the kind and 
after their first fears had subsided they all indulged in 
a sort of hysterical laugh which gave relaxation to their 
first fiorrified and mistaken feelings at what they saw. 
The whole picture was under the management of 
Director Ralph Ince. Arrangements and preparations 
were made by A. V. Smith and Walter Ackerman and 
their fellow workers of the Vitagraph Company. 




For the love of Mike. Holcomb, what are you trying to do. 
crib Billyboy's phoney spelling? Those Kinemacolor envelopes 
with the "Good Stuph" sign in the upper left hand corner look 
too much like plagerism, though the enclosed buletin is snapy 
enuf. 



A newspaper item of the past week tells of a St. Louis 
steeplejack who fell 110 feet and then calmly got up and 
Guess this Rodman Law will have to look to 
Looie party will be signing up to work 



walked away. 

his laurels or the St 

in pictures. 



Guess this chap Cloud, of the Photoplay Magazine, kinda 
put one over our friend Streyckmans, of the Mutual Observer, 
didn't he? It takes a feller with a lot of nerve to advertise 
in the Mutual house organ that by selling the Photoplay in 
his house the Mutual exhibitor can give his patrons "'half a 
score of stories about the very best Universal releases." 
Somebody was asleep at the switch when that ad copy went 
to press! Nicht wahrf H. J. S. please write. 

Who says these summer days are dull ones ? What with 
Pat Powers hitching up with Warners Features. Kinemacolor 
being licensed by the Motion Picture Patents Company. Jack 
London entering into a contract to film his stories. Famous 
Players announcing regular releases at short intervals. Kleine 
importing more stupendous features and preparing to send 
footlight favorites abroad to play in films, and Majestic getting 
busy with five reel productions, it seems to us there's something 
doing — even in the summer time. 

SCENARIOS THAT ANYONE CAN WRITE. 

Submitted by A. Nutt, Kankakee Asylum. 
"It Happened In Java," "The Substitute Stenographer." "A Faithful 
Servant," "Alkali Ike's Gal," "Gettting Married," "A Trip to the Grottoes 
of Baume," "Shipwrecekd," "On the Lakes of Bayrisch," "The Escape," 
"The New Gown," "Home, Sweet Home," "His Wife's Friends." "The 
Dance at Eagle Pass," "The Flirt," "The Incriminating Letter," "The 
Jovs of a Jealous Wife," "The Mansion of Miserv." "The House Divided," 
"The Price Demanded," "Easy Money," "The Widow's Whiles," "A Gentle- 
man of Fashion," "A Proposal From the Duke." "Monte Carlo," "Intem- 
perance," "The Senorita's Repentance," "The Edge of Things," "A Bolt 
From the Sky," "The Monument," "Such Is Life," "Quo Vadis?" 

The Kansas City Journal says they have filmed everything 
on the old farm now but the hired man, and they'd have got him. 
too, but they couldn't catch him in motion. 

SUMMER FICTION. 

Thirty Degrees Cooler Inside. — Sign on theater front. 

NOTICE 

Remember that phrase "The motion picture is still in its in- 
infancy," which we ran on our Side Track a couple of weeks ago? 
Well, some careless person left the switch open and it got out 
on the main line again — or so we judge, for here comes George 
Kleine with it in an interview in Cleveland last week with 
Archie Bell, of the Plain Dealer. Finder please return and no 
questions will be asked. 

KIDNAPPED IN THE LOOP? 

Famous Personage Disappears between Essanay Studio and Downtown 
Office Building. 



On Friday, Aug. 9, Don Meaney, Essanay publicity man. sent Alkali 
Ike, aboard his spirited charger "High Hall," down to call on Ye Ed., 
but when a riderless steed galloped into our sanctum several hours later 
some anxiety was expressed as to what had become of Mr. Ike. Upon 
communicating with the Essanay studio we learn that Mr. Ike was in 
the best of spirits when he departed and had. apparently, no thoughts oi 
suicide. Though a vigorous search has been made, no trace of the famous 
personage has yet been discovered and the police are today dragging the 
river. As we go to puss several promising clues are being run down, 
but if these prove useless it is likely this will go down in history as another 
of the great unsolved mysteries of a big city. 

"Tut, tut!" is said to be President Wilson's favorite ex- 
pression when slightly exasperated. 1 1" Prexy Neff is hep to 
the expression we'll bet those in his immediate vicinity have 
been tut-tuted more than once during the past few weeks, 



Ain't so? 



N. G. C. 



August 23, 1913 



MOTOGRAPHY 



133 




Scene from "The Human Bridge," Kleine-Cines release of Aug. 26. 

Perform Daredevil Feat Before Camera 

Players Form Human Chain Across Chasm 



ONE of the most startling and sensational acrobatic 
feats ever attempted in moving pictures forms the 
thrill and gives the title to the Kleine-Cines release 
of August 26, called 'The Human Bridge." 

In the second reel of this sensational picture four of 
the players, on the very brink of a steep precipice, make 
a human bridge of their bodies, across which two of the 
ladies in the company cross the chasm. The reviewer 
failed to detect any trickery or fakery about the startling 
feat accomplished by the Cines players, and any audi- 
ence is sure to be thrilled and awed by the daring of these 
actors. 

According to the story Kate Sampson and Peter 
Woodrow are members of two families among whom a 
feud has existed for years. The two finally become en- 
gaged, when hard luck falls upon the Sampson family 
and Sam, the brother, goes West in search of gold. Learn- 
ing of the straightened circumstances of the family, Peter 
breaks the match between himself and Kate. 

Meanwhile Sam returns from the West, having, dis- 
covered a gold field. Despite the secrecy in which the 
discovery was veiled, the news spreads among the avari- 
cious settlers of the village, who determine to forestall 
Sam and locate gold claims themselves. They attack the 
Sampson hut and after a desperate battle the Sampsons 
escape over the burning roof of their home. They se- 



cure a team and set out on their long journey. Some 
miles further on they are attacked by the same band, 
led by Peter Woodrow, and are overpowered. The tor- 
turers fail to extricate the desired information from Kate 
and her father, so Laura Woodrow determines to worm 
the secret out of Sam. They prepare a trap for him. A 
revolver duel follows and in endeavoring to escape, Laura 
falls and injures herself. Sam picks her up and carries 
her to a prospector's hut, where she remains until fully 
recovered and able to join her relatives. Laura is so im- 
pressed with Sam's generous conduct that she promises 
him she will liberate his father and sister at the first 
opportunity. This she does by telling her own people 
that only Sam knows the location of the gold, and sets 
them off on a false track. Kate and her father are set 
free and soon join Sam for the journey westward. 

Again, however, the settlers are after them and an- 
other stirring fight ensues, during which the caravan is 
driven over a precipice and dashed to pieces, the Samp- 
sons finding temporary security in the forest. Rein- 
forced by friendly gold seekers, the Sampsons continue 
their flight until faced by a gap in the hills. A daring 
scheme suggests itself. All of them are hardy athletes 
and at a great risk of their lives form a human bridge 
over which the rest pass. The others swing themselves 
across to safety over the deep yawning chasm. Once 



134 



MOTOGRAPHY 



Vol. X, No. 4 



more the opposing parties meet and after another des- 
perate battle the Woodrow gang are made prisoners. 
Peter taunts Sam and challenges him to liberate his 
hands and fight him and thus end their feud. This is 
agreed to, but Sam generously fires over the head of his 
adversary and Peter is so much overcome by the gener- 
osity that he refuses to fire. Thus a reconciliation of the 
two families is effected and a double marriage cements 
the peaceful bonds between them. 



Edison to Release Detective Story 

As the first of the Friday two-reel Edison releases, a 
detective story entitled "The Mystery of West Sedge- 
wick," adapted from Carolyn Wells' story of "The Gold 
Bag," will be offered. Miss Wells has the reputation of 
being one of the foremost writers of mystery and, de- 
tective tales in America, and undoubtedly much of the 
suspense and thrill of the novel will be maintained in the 
film version of her story. 

The synopsis of the story in brief is as follows: 

When Herbert Burroughs, a young detective, met 
Fleming Stone in the boot blacking stand of the Metro- 
pole, and when the great detective showed the younger 
man how he could deduct the salient characteristics of 
the owner of a pair of muddy shoes which were waiting 
to be cleaned, neither of the men dreamed that this 
trivial incident would play a decisive part in clearing 
an innocent man accused of a terrible crime. 

That very morning Burroughs was called to investi- 
gate the murder of one of New York's greatest finan- 
ciers, Joseph Crawford, who had been shot through the 
head as he sat at his desk in the private office of his 
country estate. 

A gold bag which was found lying on the desk be- 
side the dead man pointed a terrible finger of accusa- 
tion against Florence Lloyd, Crawford's niece who was 
known to have quarreled with her uncle immediately 
before his death. Burroughs, fascinated by the mag- 
netism of the beautiful girl, was utterly unable to believe 
in her guilt. 

A careful search of the premises resulted in the 
discovery of several puzzling clues by the young de- 




Scene from "The Mystery of West Sedgewick." 

tective. There were two faded rose leaves, for instance, 
a transfer slip, an evening newspaper, and last, but by 
no means least, a card tucked away in the lining of the 
gold bag. 



A mysterious network seemed to envelope all of the 
Crawford household in the ghastly mystery, from the 
beautiful Miss Lloyd and Philip Crawford, the dead 
man's brother, down to Gregory Hall, Crawford's secre- 
tary, Elsa, the upstairs maid, and Louis, the butler. 




Scene from "The Mystery of West Sedgewick." 

By careful plodding work Burroughs succeeded in 
unwinding the tangled skein, until at last he found him- 
self confronted by an apparently insoluble knot. His 
investigations were brought to a standstill by the mysteri- 
ous silence of Gregory Hall, the secretary. Despite the 
heavy load of circumstantial evidence which pointed to 
him as the actual criminal, Hall merely shrugged his 
shoulders and refused to say the few words which would 
clear him. 

How Burroughs confessed himself beaten and called 
in Fleming Stone, how the great detective forced the un- 
willing Hall to prove an alibi for himself and finally 
how the murderer was discovered, lack of space forbids 
us to tell. 

The cast includes the following : 

Fleming Stone, a famous detective Bigelow Cooper 

Herbert Burroughs, a young detective Augustus Phillips 

Joseph Crawford, a millionaire Robert Brower 

Philip, his brother Charles Sutton 

Florence Lloyd, Crawford's niece Gertrude McCoy 

Miss Pierce, Florence's aunt May Abbey 

Gregory Hall, Crawford's private secretary Richard Tucker 

Lemuel Porter, Crawford's lawyer and friend Charles Ogle 

Elsa, Florence's maid Elsie MacLeod 

Louis, Mr. Crawford's valet Julian Reed 

The coroner Harry Linson 

The district attorney Harry Eytinge 



Railroad Employees See "Steam" 

More than three hundred of the employees of the 
executive offices of the Southern Pacific Railroad visited 
the Columbia Theater, San Francisco, last week espe- 
cially to witness the presentation of the Kinemacolor 
animated pictures of "The Discovery and Application of 
Steam." 

The occasion was the one hundredth anniversary of 
the first practical use of a locomotive in England when 
George Stephenson built the "Rocket" for the Liverpool 
and Manchester Railroad. At the celebration exercises, 
held in the Albert Hall, London, England, in honor of the 
invention of Stephenson, the Kinemacolor films were 
shown. 

The Southern Pacific employees were the guests of 
Charles W. Foy of the passenger department of the 
railroad. 



August 23, 1913 



MOTOGRAPHY 



135 




Exhibitors at the Eclair studio in Fort Lee, during convention week. 

Motion Picture Making and Exhibiting 

By John B. Rathbun 



CHAPTER VI. THE PROJECTOR. 

WHILE the elementary details of the projector 
and its development were given in Chapter I, 
it is the purpose of this chapter to enlarge on 
the description previously given so that the reader may 
become familiar with the actual operation and mainten- 
ance of the machine, and the theory of its optical system. 
The constantly increasing list of projectors being placed 
on the market prohibits an extended discussion of the 
constructional details and adjustment of every machine, 
within the limits of this book, but as they are all built 
on the same basic principles we will confine ourselves to 
those parts that all machines have in common, leaving 
the solution of the minor variations to the ingenuity of 
the reader. 

THE OPTICAL SYSTEM. 

As shown in Chapter I, the optical system consists 
of two principal groups of lenses known as the objective 
and the condenser. It is the function of the condenser 
lens to gather as much light as possible from the lamp 
and to concentrate it upon the small area occupied by a 
film picture, thus increasing the intensity of illumina- 
tion on the film. As the condenser lens receives light 
from the lamp over its entire surface, and has many 
times the area of the film image, it is evident that the 
original surface illumination will be increased on the 
film in direct proportion to the reduction of area, since 
the same number of rays are crowded into a smaller 
space. 



After passing through the film, where it is broken 
up by the dark and light portions of the film image, the 
light passes through the objective lens in the form of a 
double cone, whose apex is near the center line of the 
objective. From the objective the shadow of the film 
is projected direct to the screen. As the rays of light 
cross near the center of the objective, the image re- 
ceived by the objective is inverted on the screen, so that 
the film image must be turned upside down if the image 
on the screen is to appear in its correct position. Since 
the cone of light from the objective to the screen is 
much longer than the cone from the film to the objective 
the image is much enlarged on the screen, the angle of 
both cones being equal. The film lies between the con- 
denser and objective at a distance that is fixed by the 
curvature of the lens surfaces. 

THE CONDENSER LENS. 

The condenser is built up of two separate lenses, of 
the "piano convex" type, the convex surfaces of which 
are brought face to face with one another in the inside 
of the container, leaving the straight faces directed to- 
ward the lamp and objective respectively. The lens 
next to the lamp is called the "back" condenser and the 
lens next to the film the "front condenser." The back 
condenser receives the light rays from the lamp and 
straightens them into a band of horizontal and parallel 
rays. Entering the front condenser as parallel rays, they 
are bent into a cone of light whose apex lies on the center 



136 



MOTOGRAPHY 



Vol. X, No. 4 



line of the lens (optical center), and at the focal center 
of the objective. The exact distance of the apex, of the 
rays on the optical center depends on the curvature given 
to the lens. 

For a sharp picture, the film must occupy a fixed 
position in regard to the condenser and objective lens, as 
before stated, the distance between the film and the apex, 
or point of convergence of the light rays, being known 
as the "focal length" of the lens. This distance is se- 
lected in the motion picture projector so that the film 
is much closer to the objective than to the condenser. 
The focal length of the back condenser lens determines 
the distance of the lamp from the lens, the focal length 
ranging from A l /z inches to 8 inches in the majority of 
cases. Back condensers of short focal length necessarily 
bring the lamp very close to the glass and increase the 
danger of breaking the glass through the heat of the 
arc, but give the advantage of increasing the brilliancy 
of the image on the screen. Since a short focus con- 
denser lens is thicker than one of long focus, the chances 
of breakage are still further increased. 

With a long focus back condenser, the distance from 
the lamp is greater, and the glass thinner, but has the dis- 
advantage of reducing the illumination on the screen, 
since less light falls on the surface of the lens. In prac- 
tice a compromise is made between the intensity of the 
illumination and the danger of heat breakage, which 
brings the focal length from A l / 2 to 8 inches (average 
6 inches). When a very short focal length is used, it 
is much more difficult to keep the lamp in focus, as a 
very small variation in the lamp distance makes a great 



difference on the screen, much greater than with a lens 
of longer focal length. 

As the objective lens and film is at a greater distance 
from the condenser than the lamp, the front condenser 
is of a longer focal length than the back condenser, and 
is, therefore, much thinner in section. Its focal length 
should be such that the apex of the rays comes exactly at 
the focal center of the objective lens. The difference 
between the focal length of the two condenser lenses 
should not be made too great, as this makes the lamp ad- 
adjustment difficult. The usual focal length of the 
front condenser is 14 inches or less, this distance being 
equal to the focal length of the objective lens plus the 
distance from the film to the center of the condenser 



case. 



Another factor regulating the size of the condenser 
lenses is the diameter of the light cone at the point where 
it passes through the aperture of the film gate, it being 
evident that the diameter of the light cone at the aper- 
ture should be at least equal to the length of a diagonal 
drawn from one corner of the aperture to the other. As 
this opening is nearly equal to the size of the film pic- 
ture (24x1 inch), the diagonal is approximately equal to 
1% inches, which should also be the minimum diameter 
of the light cone at this point, if the light is to entirely 
cover the picture. With the focal length of the con- 
densers determined on, the cone diameter regulates the 
diameter of the lens, as the lens must be at least equal 
to the diameter of the cone at the condenser. 

The diameter of the condenser lens can be found 
by a simple arithmetical proportion between the aper- 




Scene from Essanay's two-part drama "Broken Threads United." 






August 23, 1913 



MOTOGRAPHY 



137 



ture diagonal, the focal length of the objective lens, and 
the distance between the focal center of the objective to 
the face of the front condenser. 

By letting A- represent the focal length of the ob- 
jective B=l% inches (length of aperture diagonal, and 




Scene from Eclair's two-reel release entitled "Steel." 

C— the distance from the focal of the objective to the 

BC 1.25C 

front face of the front condenser, we have = 

A A 

== diameter of condenser. 

In a machine having an objective with a focal length 
of 4 inches, and C = 12 inches, we apply the formula 
as follows : * 

1.25x12 

= 3.75 inches, the minimum diameter of the 

4 
condenser lens. The next larger commercial size should 
be chosen, when the result does not come out in even 
figures. While the aperture was given equal to the size 
of the film picture to simplify the calculations, it is 
usually 1-16 inch smaller in each of the dimensions, mak- 
ing the actual opening 11-16 x 15-16 inch. This is an 
error on the safe side in making the calculations. 

When the condenser lens is too small in diameter and 
does not completely cover the picture, there will be dark 
corners on the screen. This may be remedied by moving 
the motion head, containing the objective and film, closer 
to the condenser, when it is impossible to secure suita- 
ble condensers. This has the fault of throwing the apex 
of the light cone ahead of the focal center of the ob- 
jective. 

THE OBJECTIVE LENS. 

The objective lens generally consists of four indi- 
vidual lenses assembled in a brass tube, two of the glasses 
being in front of the tube and two at the back, the two 
containing spaces at the ends of the tube being known 
as the "cells." The two front glasses are cemented to- 
gether with some transparent cement such as Canada 
balsam, while the rear assembly is held apart by means 
of a brass spacing ring. The lens is not reversible and 
should be arranged so that the spaced glasses are always 
next to the film. The accuracy of this lens is of the 
greatest importance, even more important than the accur- 
acy of the condensers, as there can be no further correc- 
tions to the light after passing the front cell, and as there 
is no intervening film to modify imperfections in the 
grinding or glass, as in the case of the condensers 



A correctly designed lens is free from the distor- 
tions that are always in evidence in the cheaper grades 
of optical apparatus, such as chromatic dispersion, astig- 
matism, and the curvature or distortion of the straight 
lines in the picture. The first lens error mentioned above, 
chromatic dispersion, results in the light beams being 
broken up into their elementary components of red, yel- 
low, green and blue rays, these colors appearing at the 
edges of the objects on the screen as a fringe, in sharp 
edges or between strongly contrasting parts of the image 
this distortion appears like a rainbow, such as may be 
seen by looking through a glass prism. A lens that is 
constructed so that the field is free from color is known 
as an achromatic lens, a type that is absolutely necessary 
for clean projection. 

Usually this correction is accomplished by building 
the lens up in two or more parts, each alternate lens 
being of a different grade of glass, having a different re- 
fracting power. The two glasses most commonly used 
for this purpose are known as "Crown" and "Flint" 
glass, the first material mentioned corrects the chromatic 
dispersion of the other as the light passes through the 
lens. This accounts for the two glasses in each end of 
the tube, each of the two groups being independently 
achromatic. 

An anastigmat lens is built to overcome the error 
known as "astigmatism," a condition in which all of the 
rays are not brought into focus at a common point. When 
astigmatism exists, all of the rays do not cross the opti- 
cal center of the lens at a common point (at the apex 
of the light cone), and, as a result, a ray passing from 
the lens does not fall on its proper place on the screen. 
A ray from an anastigmat lens (corrected) is truly cir- 
cular at all points in its length, while an astigma't "lens 
(not- corrected) gives a cross section varying from a 
vertical -ellipse to a horizontal ellipse, passing through an 
intermediate form similar to a cross. The correction for 
astigmatism is made in the curvature of the lens face or 
by introducing supplementary lenses having different 
face curves. 

A rectilinear lens avoids what is known as "barrel" 
or "pin-cushion" distortion, that is, it projects a straight 
line on the film as a straight line on the screen. If the 
lens is not truly rectilinear, the edges of the film aperture 
will be curved, either out or in, as will be all of the 




Scene from Reliance's "Of Such Is the Kingdom." 

straight lines in the picture, the curvature increasing as 
the edge of the picture is approached. This distortion is 
at a maximum with a single lens having a diaphragm or 
reduced opening, such as the gate aperture. If a single 



13S 



MOTOGRAPHY 



Vol. X, No. 4 



lens were used with the aperture between the source of 
light and the lens, "barrel distortion" would result, that 
is, the edges of the picture would curve outwardly giv- 
ing it the appearance of a barrel. Placing the restricted 
opening behind the single lens would make all of the 
straight lines bow in, an outline similar to that of a 
stuffed pin-cushion. 

By providing a double lens, in which one lens recti- 
fies the distortion of the other, we can obtain a straight 
line on the screen, this combination of two lenses at 
opposite ends of the lens tube being known as a "recti- 
linear lens." The two lens groups shown at the opposite 
ends of the tube or for the purpose of rectifying this 
distortion, it being impossible to obtain this result with a 
single group of lenses, as shown at either the front or 
back of the tube. 

For a perfect projection the lens must overcome all 
of the difficulties mentioned that are inseparable with a 
single group of lenses, as shown at eithrr the front or 
matic, rectilinear, and anastigmatic, with the light and 
film in their proper position. With the arc out Of its 
proper position the most perfectly ground lens is incapa- 
ble of avoiding these distortions. 

When the film picture is not brought central with 
the optical center of the lens, the corners of the image 
are usually dark on the screen, as the picture or a por- 
tion of it is out of the included angle of the light cone. 
When the lens is shifted to correct this condition, the 
sides of the image become inclined with one another 
giving what is known as a "keystone" picture, even with 
a rectilinear lens. To avoid the keystone picture, the 
angle of the lens must be sufficiently great to bring in the 
edges. 

LENS CALCULATIONS. 

Because of the great difference in the size of the- 
aters it is impossible for the makers of the projector to 
furnish a single objective lens that will fill all require- 
ments, so that it is necessary that the lens be calculated 
in each case to obtain the specified results. The dis- 
tance from the lens to the screen, re-called the "throw," 
the size of the required picture, and the focal length of 
the objective are the factors involved in fitting the lens 
to any given theater. 

The length of throw is governed by the location of 
the projector in regard to the screen, and is measured in 
feet along the line of the optical center of the lens. If 
the projector is raised for any considerable distance above 
the center line of the screen it will not be sufficient to 
measure the distance along the floor horizontally as the 
slanting center line of the lens will be greater than the 
horizontal distance. This error will not be excessive, 
however, if the vertical distance from the center of the 
screen to the center of the lens does not increase at a 
rate greater than one foot for every ten feet of throw. 

With a given focal length of lens, the size of the 
picture on the screen increases with every additional foot 
of throw, since the distance across the angle of the light 
cone is greater at an increased distance from the lens. 
With a given throw, the size of the picture decreases 
— with an increase in the focal length of the lens, and 
vice versa. The size of the picture is generally deter- 
mined by either the width of the theater or by the height 
of the ceiling, or in some cases by the amount of light 
that can be generated in the lamp. For every increase 
in the area of the screen image there must be an accom- 
panying increase in the amount of light generated, if 
the illumination of the screen is to be equal in both cases. 
Doubling the area of the screen requires double the light 
with equal screen brilliancy. 

I To be continued. ) 




'THOMAS SAXE, one of the most prominent of Wisconsin 
-*• exhibitors, if not in the entire country, is one of four 
brothers whose wealth is now rated well into the millions, all 
of it made in the theatrical, motion picture and restaurant busi- 
ness within the past ten years. Thomas, or "Tom," as he is 
better known, is 38 years of age 
and previous to entering the 
amusement business was a boiler- 
maker and ironworker. He is a 
most enjoyable person to meet 
and has a reputation all through 
the Middle West as one of the 
most democratic employers in the 
country. Despite their name the 
Saxe brothers are all Irish, and 
Tom was born on "the auld sod" 
at Newbridge, County Kildare. 
near Dublin, Ireland, and came to 
the United States in 1880. His 
first venture in the picture field 
was in 1903, when he opened a 
"Hale's Tour of the World" car 
and gave Milwaukee it's first pic- 
ture show. Then came the Lyric 
theater, then the Orpheum, the 
Globe, the Princess and the Mode- 
jeska. He next startled filmdom 
by securing the Alhambra. Mil- 
waukee's largest theater, at an 
enormous rental. He went to St. Joseph, Mo., and there opened 
an Orpheum. In Minneapolis the Lyric was secured and turned 
into a second Alhambra. The Saxe brothers also control a 
string of legitimate theaters, the Crystal of Milwaukee, the Bijou 
in Minneapolis, and are building a million dollar hippodrome to 
seat j,500 in Milwaukee. Mr. Saxe is intensely interested in 
bringing rare wild animals to the Washington Park Zoo in 
Milwaukee, and was recently appointed a member of the state 
board of agriculture, which bodv has direct charge of the Wis- 
consin State Fair. 




N 7 £ • vice-president of the Alabama state branch of 
\i the Motion Picture Exhibitors' League of America is the 
%u ^T, en H ° xe >'. , C ; Farley, the subject of this little sketch, 
the C in the middle of Mr. Farley's name stands for Carter 
and was given him way back in August, 1869, when he was 

born at Montgomery. Alabama. 
The date happened to be the thir- 
teenth, but that didn't make any 
difference to Hoxey C, for he 
isn't a bit superstitious, and has 
been prospering ever since. After 
an education which began in the 
local schools and wound up with 
a graduation diploma from the 
University of the South, at Su- 
wanee, Tenn., Mr. Farley re- 
turned to his home city, and there, 
with his brother. L. B. Farley, 
assisted in the formation of the 
Farley National Bank, of which 
L. B. is still president. In 1897, 
on account of ill health, the victim 
of this biography retired from ac- 
tive connection with the bank and 
traveled for several years. Two 
or more years were spent in Chi- 
cago, and while there he noted 
the growth of the motion picture 
business. Returning south. Mr. 
Farley bought the Empire Theater of Montgomery in 1909, and 
established one of the first theaters in the city. After operating 
that bou^e for a year, he built the Empress Theater at a cost 
of $12,000. and it was at that time the finest picture theater in 
the entire South. He was also one of the first to see the 
advantages of an Exhibitors' League when M. A. Neff first 
conceived the idea, and was present at Cleveland when the 
League was really born. Besides being made a member of the 
committee on by-laws and the committee which drew up the 
charter, he was elected national vice-president from Alabama. 




August 23, 1913 



MOTOGRAPHY 



139 



A DiamoncUS Potpourri 

Interesting Items from Selig's 



ON Monday, August 18, the Selig Polyscope Com- 
pany releases a two-reel feature entitled "The 
Child of the Sea," which is a romance of the 
lighthouse service with some big and gripping scenes. 
The story opens with the wreck of a merchant vessel, 




Scene from Selig's "The Child of the Sea." 

and we see the cowardly crew rush for the lifeboats 
and desert the captain and his helpless family- aboard the 
derelict. The captain lashes his wife and child to a spar, 
trusting they will safely reach shore, while he prepares to 
die with his ship. The spar is finally discovered in the 
sea by the keeper of a lighthouse, and though the mother 
has died from cold and exposure the little girl is taken 
ashore and eventually adopted by the old lighthouse- 
keeper. A locket about her neck is the only means of 
identifying the child. The old sea captain, meanwhile, 
is rescued before the trading vessel goes down, and five 
years later is appointed a government inspector of light- 
houses. 

Some fifteen years after the baby girl came ashore 
she has blossomed into radiant womanhood and is adored 
by the stalwart assistant keeper of the light. This latter 
fact is galling to Jim Arnold, the coast-patrol, who 
admires the lovely Nell himself. His jealousy leads him 
to write an anonymous letter to the lighthouse inspector 
telling him that the keeper of the light is superannuated, 
and Bill Jackson, the assistant, a hopeless drunkard. 

Jackson starts out one night to trim the light, the 
old keeper being incapacitated by rheumatism, and on 
his way encounters Arnold, who attacks him. The fight 
between the two men is seen by Nell through a telescope. 



Seeing her lover overcome by the vicious Arnold, Nell 
starts herself, in a small rowboat, to fix the light. Look- 
ing up, after he has conquered and, as he imagines, 
killed the assistant-keeper, Arnold perceives Nell rowing 
out to the lighhouse, and as he wishes the light to remain 
unlit on this fateful evening, Arnold leaps into another 
boat and starts out to prevent Nell from accomplishing 
her purpose. 

Nell wins the race for the light and soon the great 
beacon is flashing out its warning along the desolute 
coast. Arnold, who has closely followed Nell, at this 
moment thrusts himself up through the trap-door in 
the floor of the light-room and Nell slams down the 
door upon him, imprisoning him. 

The government inspector has meanwhile arrived 
and when the old lightkeeper tells him of the events of 
the last few hours the inspector turns his boat toward 
the distant lighthouse and arrives in time to arrest the 
struggling Arnold. - Jackson" has, meanwhile, recovered 
from the attack upon him and testifies against the vin- 
dictive coast-patrolman. The inspector is still more as- 
tonished a few moments later when he discovers- the' 
locket about Nell's neck and recognizes it as the trinket 
of his baby girl, set adrift on the spar may years before. 




Scene from Selig's "The Child of the Sea." 

Explanations, of course, lead to the discovery that Nell 
is the inspector's daughter. 

Kathlyn Williams, Harold Lockwood, Herbert Raw- 
linson, Al Filson and Baby Lillian Wade enact the leading 
roles in this two-reel production. 



140 



MOTOGRAPHY 



Vol. X, No. 4 



"The Spoilers'" Uses Many "Supes" 

In the Nome street scenes, made last week by the 
Selig Polyscope Company, at the Los Angeles studios, 
in the production of Rex Beach's "The Spoilers," the 
director used 225 people in addition to the company of 
principals and a company of the national guard. The 
.extra people were used for three successive days. The 
cost of these street scenes alone, with the setting, is said 
to be in excess of $5,000. These scenes form but a 
small part of the completed production. A tremendous 
•expenditure was incurred the week previous to this in 
•the production of the scenes showing the dynamiting of 
the "Midas" mine. 

William Farnum, the stage star who is being fea- 
tured in -this big production of "The Spoilers," is laid 
up in bed with two swollen eyes as the result of strenu- 
ous scenes enacted in the setting representing the strets 
of Nome. Mr. Farnum, who is working in moving 
pictures for the first time, enjoys the realism of outdoor 
acting and throws himself into fight scenes with a strenu- 
ousness which fairly wears him out. The big production 
was brought to a halt for a couple of dajs while the star 
took the rest cure. 



A. Big Set Required 

Edward Langley, one of the artists of the Selig 
Polyscope Company, at Los Angeles, recently prepared 
a scene in the Edendale glass studio, to be used in the 
photoplay of Rex Beech's famous romance, "The Spoil- 
ers," which is said to be the largest interior scenic setting 
ever used in photoplay (barring the palace scene in 
"The Coming of Columbus," which eclipsed all others 
in the matter of depth and detail). This scene repre- 
sents the interior of "The Northern," a resort famous 
in the wild infancy of Nome, Alaska, — when fortunes 
were won and lost in a night at the whirling roulette 
wheel and life was esteemed indifferently. This hall 
was a combination for dancing, gambling and more legiti- 
mate forms of amusement, and was the center of life in 
the northern metropolis during the gold rush days. The 
setting of this scene was twenty-eight feet wide, sixteen 
feet high and eighty-five feet deep, and it included a 
practical stage, the boxes and the thirst booths, destin- 
guished in its famous prototype. 



New Actors At Selig's 

Among, the new additions to the Selig Stock Com- 
pany at Edendale, California, are Joseph King, W. K. 
Rhyno, Norval MacGregor and Miss Mabel Van Buren. 
The last named lady was formerly associated with Kine- 
macolor. Edw. J. (Jack) Le Saint, formerly leading 
actor well known to theater patrons and late director 
for Kinemacolor, has joined the Selig forces and is the 
father and producer of a new and unusual drama, en- 
titled "Between the Rifle Sights." 



Minnesota Delegates Report 

At a meeting of the executive committee of the 
Minnesota branch of the International Picture Associa- 
tion, held in St. Paul on August 1st, Thomas Furniss, of 
Duluth, presented his report of the recent convention 
in New York City, which was heartily approved by 
those present and the stand of the Minnesota delegates 
to the convention was unanimously approved. 

A general meeting of the state will be called for the 
first Thursday in September at St. Paul and from the 
enthusiasm manifest already throughout the state one 



of the most rousing meetings that has ever been held in 
the Gopher state is anticipated. 

Mr. Furniss writes, "I have never seen a more en- 
thusiastic bunch than ours for the new Association, and 
we know the other members of the Association will be 
proud of Minnesota." 



Cameraman a Human Barnacle 

One hears all sorts of wild and fantastic tales about 
the perils experienced by the players in motion pictures, 
but rarely is anything said about the chances taken by 
the cameraman in taking some of the spectacular scenes 
one sees on the screen. The accompanying photograph 
shows Forsyth, the Edison camera man, filming a scene 




Edison's camera man takes a chance. 

from "Starved Out," and it is clear to perceive that the 
gentleman who turns the crank had all he could do to 
stick on the rock, let alone worrying over the sort of 
negative he was getting. The houseboat shown in the 
picture is the property of Ashley Miller, one of the 
Edison directors. 



Palace Theater Featuring Its Orchestra 

Manager Diebold of the Palace Theater, Cedar 
Rapids, Iowa, is highly complimented on the editorial 
page of The Saturday Record, published in the Iowa city, 
for the music he is giving his patrons. The Record 
declares that the Palace orchestra, instead of merely 
trying to see how much noise it can make, plays real 
music in a pleasing manner, and is made up of some of 
the most talented musicians in the state of Iowa. The 
patronage has almost doubled since the music has been 
featured, though it is understood Manager Diebold fur- 
nishes a grade of pictures on an equally high standard 
with the music he offers his patrons. 



Kleine Optical Company Issues Catalogue 

The Kleine Optical Company has just issued a cat- 
alogue covering the many items of theater equipment 
which it offers for sale. Incidentally this little volume 
is more than a catalogue, inasmuch as it contains many 
interesting articles of interest to theater owners. Prac- 
tically every article that might be used in a picture the- 
ater has found its place between the covers. It is offered 
free for the asking, is printed on a handsome white enam- 
eled stock and contains 166 pages. 



August 23, 1913 



MOTOGRAPHY 



141 



Current Educational Releases 



In Weird Crimea. — Patheplay. An interesting also these places of special interest: "The Palace of the 



view of this ancient country showing among other things 
a view of the abandoned city which was inhabited by the 
Skiffs about 2,000 years ago. Monasteries cut from solid 
rock are perched on seemingly inaccessible points on 




Yes, the nbove little fire station is a picture theater. Four nights a 
week, on Tuesday, Thursday, Friday and Saturday evenings the fire laddies 
of Sheldon, Illinois, show films "there. They book through the General 
Film Company branch in Chicago. 

the cliff, and the scenery of the country as shown in the 
picture is wild, rugged and interesting. 



In and Around Scutari After Its Capture. — 
Patheplay. A remarkable picture in and about the forti- 
fied city of Scutari, captured after a long siege by the 
Montenegrins in the late Balkan war. The hills of 
Tarabosch and Bardagnoll are shown, dotted here and 
there with abandoned cannon in positions eloquent of 
the haste with which the Turks evacuated their posts. 
The dead lying in ghastly groups on the ground tell us 
of the terrible struggle. Within the city it is evident 
that the shells have done terrible damage and the starv- 
ing children in the streets bespeak of the horrors of the 
long siege. No words can make such an eloquent plen 
for universal peace as this picture. 



Beautiful Catalogne. — Patheplay. A little jaunt 
into Spain, passing through the beautiful province of 
Catalogne with its charming scenes, so quaint, quiet and 
peaceful. 



San Francisco, the Dauntless City. — American. 
A remarkable, interesting and comprehensive series of 
views depicting the marvelous growth of the city of San 
Francisco since the disastrous earthquake and fire of 
six years ago. American energy and enterprise has made 
it possible to rebuild a city more gigantic and beautiful 
than the old and have made capital out of the scholar, 
student and public at large. 



Governor General," "Law Courts," "The Cathedral" and 
"The Town Hall." Luxurious gardens of brilliant col- 
oring form an ideal setting for these imposing buildings. 
City of feasts and pleasure, commerce and work, 
Saigon has aptly become known as the Little Paris of 
the Orient. 



Ascending Mount Blanc. — Gaumont. Views of 
a party making the actual ascent of this famous moun- 
tain have a much greater interest than the usual scenic 
film. Commencing with the departure of the party from 
Pierre Pointue at the altitude of 5,750 feet, chasms and 
glaciers interrupt a slow progress until a blizzard en- 
forces a halt. At the Vallot Observatory, 14,000 feet 
above the sea-level, the formation of the clouds is won- 
derful to behold. Beautiful photographic effects are ob- 
tained, and the final snow-clad peak stands out in 
grandeur. 



Saigon. — Eclair. This, one of the most important 
cities of Cochin-china, is now modernized by scores of 
beautiful houses, especially in the European quarters. 
Catinat Street, one of the prettiest promenades, is shown : 



Up Lookout Mountain on the Electric In- 
cline. — Essanay. A beautiful scenic picture showing 
the hills and valleys surrounding Lookout Mountain, 
Tenn. One sees the deep gradeof from 40 to 72 per cent 
at which the car travels downward, immense cables hold- 
ing the car from slipping. 



Golden Gate Park and Environs.— American. 
This series of picturesque gems was produced under the 
personal supervision of S. S. Hutchinson, president of 
the American Film Manufacturing Company. Specimens 




Mr. and Mrs. W. J. Brockin. Georgia delegates to the M. P. E. L. 
convention in New York, representing theatrically the largest city on earth 
(of its size), Bainbridge, Ga. 

of animal and vegetable life predominate. California's 
great charms are recognized throughout the traveled 
world, and it is truthfully maintained that he who once 
comes within their influence usually returns. It can be 
safely termed one of the most spectacular cities of the 



142 



MOTOGRAPHY 



Vol. X, No. 4 



states. The Golden Gate is so historical a phenomenon 
with its gateway a mile in width that the beauty of the 
spectacle is at once impressive. The excellent photo- 
graphic quality and the artistic merit of the production 





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Scene from Edison's "Joey, the Clown." Eddie Boulden, the player fea- 
tured in this release, is the one seated on the wagon, explains the 
Edison press agent. 

will commend themselves to the tourist, the lecturer, the 
scholar, as well as the public at large. 



Auto-Polo. — Patheplay. The newest dare-devil 
game which has taken the public by storm is the novel 
subject of this film. There are four autos engaged in 
the game, and these cars sweep about the field after the 
ball at a speed that is alarming, the malletmen seeming 
regardless of their danger in their efforts to win, lean- 
ing perilously out of the car for a stroke while it turns 
on two wheels, stops, races backwards across the field 
at a speed that will make your hair stand on end even 
to watch. 



On the Lakes of Bayrisch (Bavaria). — Pathe- 
play. This film takes us into Bavaria, a land little known 
by those who have not traveled extensively. The Bay- 
risch lakes are gems of beauty set in the surrounding 
hills like emeralds. 



"With the Natives of New Zealand." — Pathe- 
play. A study of the modes and customs of the black men 
in this country, which is interesting and highly instructive. 



The Lakes of Salzburg (Austria). — Gaumont. 
Salzburg, a crown-land of Austria, lies on the northern 
face of the eastern Alps. The southern portion of the 
country and its lakes form the subject of this film. 
Starting from the picturesque village of Ebensee, at the 
lower extremity of Lake Gmunden, one of the most 
beautiful lakes in Europe, we make our way by boat to 
the Chateau of Ort, which is built on an island. Quite 
a different type of natural beauty is presented by the 
Lake of Hallstadt, which, lost in the mountains, presents 
a wild and melancholy aspect. The little town of Hall- 
stadt, is as curious to the tourist as it is pleasing, and 
the film as a whole is admirable. 



"Genoa, Principal Port of Italy." — Patheplay. 
The remarkably interesting series of views of the city 
to which America is so greatly indebted. Here Colum- 
bus was born and spent his boyhood days. The ancient 
village is renowned for its port from which for cen- 
turies Italian ships of commerce have left. Ancient build- 



ings, historic ruins, many edifices of great architectural 
beauty, and the busy marts of trade are all faithfully 
shown in this film, which ends with a magnificent moon- 
light picture of the harbor. 



Picturesque Jura (France). — Patheplay. This 
little frequented spot in France abounds in verdant val- 
leys and luxuriant vegetation. Winding roads zig-zag- 
ging up the mountain side afford many opportunities for 
beautiful vistas across miles and miles of picturesque 
grandeur. After a lovely view of the River Bionne at 
Malinges, we conclude with "Evening on the Lake of 
Chalin." 



"The Celestial Republic." — Vitagraph. A beau- 
tiful travel picture illustrating curious scenes in and 
around Canton and other Chinese cities. Junks, sam- 
pans, the strange market places and open air restaurants 
are all shown exactly as the traveler sees them. 



Microscopic Animalculae Found in Stagnant 
Water. — Eclair. This reel acquaints the eye with an in- 
visible form of life which people impure, sedimentary 
waters. These semi-opaque, vapory animalculae are 
classed as "infusoria," and vary in size from one-thou- 
sandth of a millimetre to three millimetres. They are dis- 
tinguished by trailing appendices, whereby they cling to 
position and capture their prey. Also by cavernous, pro- 
portionately-suctional mouths, from which weaker forms 
of life have little opportunity to escape. These projec- 
tions were obtained by linear enlargements of 1,000 times. 



"Mount St. Michel." — Patheplay. Mount St. 
Michel is rocky promontory in the Bay of St. Michel on 
the coast of France. It is joined to the mainland by a 
dike, built within comparatively recent years. On the 
summit of the mount is a Benedictine Abbey, one of the 
most remarkable monuments of French military and 
monastic architecture in existence. 



"Grand Canyon of New York — Ausable Can- 
yon." — Patheplay. This scenic film carries the spectator 




Scene from "Riina Plays Cupid." Reliance release. 

through the most picturesque spot in the Empire State. 
Ausable Chasm is a great cleft in the mountains through 
which tumbles a torrent of foaming water, leaping from 
rock to rock on its restless journey to the sea. We see 
"Elephant's Head," "Table Rock," "Post Office," "The 
Flume," and many other points of beauty. 



August 23, 1913 



MOTOGRAPHY 



143 



Kerrigan Enacts a Soldier Role 

Plays Army Officer in "For The Flag" 



LIFE at West Point, in a western military post, and 
in the Philippine Islands, form the backgrounds 
for the latest American two-reel feature, entitled 
"For the Flag," which will be released on Monday, 
August 25. 

Such favorites as Warren Kerrigan, Vivian Rich, 




Scene from "For the Flag." American. 

Jack Richardson, George Periolat, Louise Lester and 
Charlotte Burton enact leading roles and there is plenty 
of action and thrill to this war drama. The attack on 
the Governor's palace by Philippino bolo men and the 
defense of the place by the American troops is well 
handled and exciting in the extreme, although the use of 
larger numbers of supernumeraries would have given 
even more realism to the scene. 

As the picture begins we see a farewell dinner in 
progress at Benny Havens' quarters at West Point, when 
Captain Williams enters and addresses himself to Lieu- 




farewell by Lieutenant Bronson to his classmates, the 
captain has no alternative but to depart. 

The troop of cavalry, of which both are members, 
has been ordered west and there the angry passions of 
Williams have every opportunity to spend themselves to 
the detriment of Jack Bronson. 

At the home of Colonel Graham the Colonel's beau- 
tiful young wife succumbs to the charms of handsome 
Lieutenant Bronson, a condition that is entirely unso- 
licited and unwelcome to the lieutenant. The captain 
exposes the affair to the colonel, but not in a manner 
calculated to credit the lieutenant. The colonel investi- 
gates and finds the lieutenant in a compromising attitude, 
for which the colonel's wife was wholly responsible. 
Surprised by her husband, she denounces Bronson, whose 



Scene from "For the Flag." American. 

tenant Jack Bronson. That the best of feeling does not 
exist between the captain and the lieutenant is evident 
from the manner in which the captain is received and 
dismissed. As the dinner is a private affair, given as a 




Scene from "For the Flag 



American. 



sense of chivalry precludes the possibility of his contra- 
dicting the woman. The affair leads to a courtmartial of 
Jack Bronson on a charge of assaulting his superior 
officers, for which he is dishonorably discharged from 
the service. 

He leaves America and goes to the Philippines, 
where he enlists as a private. Later Captain Williams 
and his company are assigned to the Philippines for serv- 
ice. The captain recognizes Jack, but the latter denies 
his identity. 

At a ball given at the Governor's palace, Jack is on 
duty as the captain's orderly, when a Spanish girl is 



144 



MOTOGRAPHY 



Vol. X, No. 4 



assaulted by Williams, for which Jack knocks him down 
(an unpardonable offense in time of war). Realizing 
the hopelessness of an attempt to defend his conduct, 
Jack fights his way through the guard and escapes, to- 




Scene from "For the Flag." American 



gether with a fellow soldier. They purchase a boat and 
put out to sea, and after a few days of buffeting by an 
angry sea, they are washed ashore in an exhausted con- 
dition. Here they are found by a friendly officer, who 
carries word to the fair Juanita. 

Bronson's heroism is again in evidence when, pre- 
vious to an attack by bolo men, his identity being dis- 
covered-he pleads with the governor, "Let me fight for 
the flag now,' then do with -me what you will." 

During the battle, marked by many fierce hand to 
hand conflicts, he rescues the captain, leads his forces 
to victory, and for his heroism is pardoned for his past 
offenses and restored to his former rank as a lieutenant 
in the United States army. 



President NefFs Convention Report 

To the members of the Motion Picture Exhibitors' 
League of America: The following is a brief statement 
of some of the things accomplished at the convention, 
P eM a t r ] ne Grand Central Palace, the week of July 8, 
1913: 

The convention recommended a shorter program 
when practicable and not to exceed four reels at any 
price. 

A resolution was passed placing the censorship ques- 
tion in the, hands of the national executive board for its' 
consideration, and it was instructed to use its best efforts 
in co-operating with the manufacturers, film exchanges 
and others interested in adjusting the matter. 

All national conventions will be under the direct 
supervision of the national league hereafter, and no con- 
tract or arrangement will be made except by the officers 
of the league. 

An itemized statement of receipts and disbursements 
will be made to the convention before it adjourns. 

The convention designated 10:30 a. rri., the second 
day of the convention, as the time that the officers of the 
league shall be nominated and elected. This was done 
to eliminate all politics and future misunderstandings. 

The next convention will be held in Dayton, Ohio, 
beginning the first Tuesday after the Fourth of July. 
The officers of the league were increased to five by the 
addition of a first National Vice-President and a second 
National Vice-President. This increased the executive 
board to seven. 



In addition to many inducements offered by Dayton, 
the president of the National Cash Register Co. has 
donated $2,500 to the league to assist in making the con- 
vention a success, and in a letter to the league president, 
says : "We will help you to make the convention a great 
success." 

PRESIDENT NEFF'S NOTES. 

Some of the delegates left the convention when the 
vote reached Texas, and they discovered that Mr. Neff 
was re-elected. The delegates who left the convention 
were suspended from the league and are no longer mem- 
bers of the league, and have no right to participate or 
have a voice or vote in any state or local league of the 
Motion Picture Exhibitors' League of America. 

The New York State Branch No. 11 of the M. P. E. 
L. of A. in convention assembled, voted to give to the 
National League 25 per cent of the amount it receives. 
When the New York delegates (not all of them) bolted, 
they then declared they would not give the National 
League anything. President Neff brought legal proceed- 
ings Monday morning, July 14, and all of the money so 
far has been legally tied up, and the National League 
will continue to fight so long as there is a chance of 
getting the money promised. 

No real business was transacted until the disturb- 
ing element had left the convention hall, then the con- 
vention got down to business, and from that moment 
harmony and good feeling prevailed. The convention 
transacted business in a business way, and the members 
of the league will soon realize the great good accom- 
plished by the convention after the bolting delegates left. 

Any member who so desires has the privilege of 
withdrawing and joining any other organization, but has 
no right to display membership lobby certificates of the 
M. P. E. L. of A. in front of his place of business. It 
must be surrendered to the national secretary and the 
charter and books must remain with the loyal members 
of the league and be in the hands of the ranking officer 
of the state. 

Now is the time for every exhibitor to stand by the 
M. P. E. L. of A. and pay no attention whatsoever to 
the siren voice of the agents of those who would profit 
by the disrupting of the league which is not only destined 
but is now the cornerstone upon which the motion picture 
business rests. 

Our organization is built upon the rock of truth and 
justice, and all of the misrepresentation, abuse, ridicule 
and extravagant financial expenditures have not and can- 
not stop its progress, and the only effect a few dis- 
gruntled members who withdrew will have is to cement 
the league in a closer fraternal bond of harmony, strength 
and effectiveness. 

All bills are to be submitted to the secretary, who 
will issue a voucher on the treasurer; the treasurer issues 
a check which is countersigned by the president, thereby 
the president, secretary and treasurer are familiar with 
every bill that is paid. The books of the league are 
open for inspection to every member of the league at all 
times. An itemized bill of every cent paid out will be 
found in the records of the secretary's office. 

Cleveland, Ohio. Local No. 1, M. P. E. L. of A., 
held a meeting for the purpose of electing new officers 
on Wednesday, August 6. Arrangements for a big meet- 
ing are being made by the Cleveland members to be held 
about the 13th or 14th. 

By reason of the vacancies caused by the suspension 
of those who left the national convention, state conven- 
tions will be arranged for and called : at an early date. 
It is believed that the exhibitors of these states will 
stand loyal to the parent organization. 



August 23, 1913 



MOTOGRAPHY 



145 



Of Interest to the Trade 



P. A. Powers Heads Warner's Features 

Warner's Feature Film Company has closed the 
arrangements necessary to fulfill its plans for the dis- 
tribution of a complete feature program. Through its 
twenty-four established exchanges, comprising its Amer- 
ican and European representation, and to increase its ex- 
change operations to adequately handle the program 
which it will provide in September, Messrs. Warner have 
succeeded in interesting P. A. Powers to head their com- 
pany as president. 

In the new organization A. Warner will be vice- 
president and general manager, H. M. Warner treasurer, 
H. M. Goetz assistant treasurer, and J. A. McKinney 
secretary. 

The new Warner's Features, Incorporated, is the 
solution of the problem up to now confronting producers. 
Many manufacturers have undertaken and others in 
numbers have been willing to undertake the making of 
pictures of the greatest proportions and value, but 
owing to the present combinations could not reach the 
exhibitors with their output. 

The feature productions already controlled by the 
Warner Company will be augmented by the output of 
several manufacturers of superior film. The combina- 
tion of Mr. Powers' influence in increasing the capitali- 
zation of the company for its greater operations and in 
making satisfactory purchasing agreements, gives the 
Warner's Feature Film Company the distinction of be- 
coming one of the most important and successful dis- 
tributing factors in the moving picture business. 

A number of manufacturers, it is said, have been 
anxiously awaiting the opportunity of securing this out- 
let, and with their co-operation the program handled by 
the Warner's exchanges in September will undoubtedly 
prove extremely attractive to exhibitors, and give to 
manufacturers the opportunity they have sought of suc- 
cessful disposition of the best productions they can make. 
The company will perfect its reorganization and direct 
its operations from its headquarters in the Candler 
Building. 



American Pictures by Gaumont 

The house of Gaumont has decided to invade the 
American field in a more earnest manner than has hither- 
to been the case, and instead of relying entirely upon 
European productions we now find them announcing 
American releases. The first of these will be released 
on August 31, entitled "The Faithful Servitor," acted 
and photographed entirely in Californian scenes of rare 
beauty. 



Kinemacolor's New Submarine Subject . 

Kinemacolor's latest addition to the library of sub- 
marine photography is entitled "Life in a Rock Pool" — 
and might be described as a "Crab's-Eye View." The 
scene is the bottom of a rock pool on the British coast, 
and at the opening the sea-urchins are disporting them- 
selves peacefully amidst the sea anemones, while the her- 
mit crab is having the time of his young life. Suddenly 
the "villain" appears in the person of a real "urchin" on 
a crabbing exploration of the pool and grabs the hermit 
crab. A rather unusual aspect of the young collector is 
depicted. We see a boy's bare legs as he paddles in 
search of specimens, followed by some close views of the 
captured hermit crab. These curious creatures habitu- 



ally reside in the discarded shell of a whelk, or similar 
mollusc, into which they are able to completely withdraw 
themselves. In the picture a large hermit crab is seen 
disporting itself when, becoming aware of the approach 
of the boy, it suddenly and unexpectedly decamps with 
every symptom of alarm. 

The picture is a remarkable addition to the Natural 
Science series, showing life under water — with the 
"human interest" of a photoplay upside down. 



"Money's Merciless Might" 

"Money's Merciless Might" is a true tale of the 
American girl of today sacrificing self for the sake of 
her widowed mother left penniless by the sudden death 
of the rashly speculative broker. It takes us from the 
land of the dollar to beautiful southern France, and 
much of the action passes amid the lovely semi-tropical 
scenery of the Riviera. One of the thrilling scenes shows 
the fall of an aeroplane and the death of the aviator. 

The acting throughout this narrative is of the 




Scene from Gaumont's "Money's Merciless Might." 

highest order, the artistes portraying the principal roles, 
giving finished renditions, and the realistic scenes of the 
aviation grounds, the aeroplanes, the delightful scenery 
of the Riviera, etc., all go to make up a truly splendidly 
illustrated story of real life of the present day. 



Beware of "Jack Wright" 

Believing that exhibitors in the middle west are 
being victimized by a rough who is representing himself 
as an employee of the Jerome H. Remick Company, that 
concern has issued the following warning : 

A young man, representing himself as Jack Wright of the 
Jerome H. Remick Music House, has been working among the 
moving-picture theaters in Michigan and adjoining states. His 
game is to take orders at $2.00 each, for which he agrees to send 
professional copies of new publications, three each week for 
one year. 

We wish to advise the theater proprietors and musicians in 
general that this party has no connection whatever with our 
house, and nobody in our employ is authorized or instructed to 
make any such arrangements, as Jack Wright is simply a 
swindler. We understood that another music publishing house 
is being used in the same way under another name, but so far 
we have heard from about twenty people who have been 
victimized by this man. All of them, with the exception of 
two, are connected with theaters in Michigan. 

The last report that came to us regarding the whereabouts 



146 



MOTOGRAPHY 



Vol. X, No. 4 




Scene from "The Clown's Revenge," Kleine-Eclipse release of Aug. 19. 



of Jack Wright was from Eau Claire, Wis. He has also been 
in St. Paul, and has worked Saginaw, Mich., to a finish. 

We wish you would run an article regarding this matter in 
your next issue so that your readers will be on the lookout for 
this party and can notify us if they should come in contact with 
him. We are anxious to have this man arrested and will prose- 
cute him if it is possible. 



Frank Scott, who has been with the Kinemacolor com- 
pany ever since he projected the first Durbar pictures at 
the New York Theater, is chief instructor ; with Walter 
Smith, another Kinemacolor expert, as first assistant. 



This Prophet Has Honor 

The prophet without honor in his own land is a 
pretty general sort of prophet nowadays, when none 
know your collection of weaknesses so well as the nearest 
neighbors. Familiarity breeds contempt ! The film com- 
pany whose product is called for in every picture show 
in India finds just one or likely no theater at all showing 
the product in the home town. And the brand of film 
not half as good that hails from Oshkosh is featured at 
every nicolette. There is a reason for all this reflection. 
('. J. I lite points with pride to the fact that only one of 
the five picture houses in New Rochelle isn't showing 
i lie Thanhouser reels. 



A College of Projection 

Kinemacolor has established a College of Projec- 
tion at the general offices of the company, 1600 Broad- 
wax. Xew York City, for the free training of operators 
who wish to become experts in color picture projection. 
Arrangements have been made to give experienced 
black-and-white operators a post-graduate course in color 
projection which will entitle them to the degree of "Kin- 
emacolor Expert." Certificates will be furnished to all 
who complete the course and qualifj for positions. Mr. 



Kinemacolor Licensed by Patents Co. 

Announcement of the fact that Kinemacolor films 
have been licensed by the Motion Picture Patents Com- 
pany and may hereafter be shown in all houses using 
licensed films was one of the real events of the week in 
filmdom. To those wdio have been watching the prog- 
ress of Kinemacolor closely and noted the rapid strides 
it has made the past few months, the announcement comes 
not altogether as a surprise. 

Since the beginning of production of American- 
made dramas and comedies over a year ago. the installa- 
tion of Kinemacolor service has rapidly increased. A 
great many of the exhibitors, however, particularly those 
in the high class vaudeville houses, who have been 
anxious to install Kinemacolor have hesitated to do so 
on account of the colored films not being licensed. As 
a result of the receipt of the Patents Company bulletin 
showing that Kinemacolor was listed among licensed 
films a deal is said to have been started through the 
United Booking Offices to supply Kinemacolor films to a 
number of the big time houses. 



Enlarged Vitagraph Plant 

The Paris branch of the Vitagraph Company is 
following the example of the main branch in America 
by erecting one of the largest plants in Europe. It will 



August 23, 1913 



MOTOGRAPHY 



147 



be up-to-date in every respect with every modern im- 
provement and every department in full relationship to 
the other. Mr. R. A. Reader, business manager of the 
Vitagraph's interests in Europe, declares the building of 
this factory will cost at deast half a million, possibly 
more, before it is completed. His report of .European 
conditions generally, and the extreme popularity of the 
"Vitagraph life portrayals, has prompted the erection of 
larger facilities to meet the increasing demands for their 
productions. 



-who is termed "The Shakespeare of the Silent Drama," 
had been under the Lubin banner only a comparatively 
short time and already has several winners to his credit. 
Some of them are: The District Attorney's Conscience, 
Dregs, The Burning Rivet, The Benefactor, The Angel 
of the Slums, Love of Beauty, When the Heart Changes, 
and The Man in Him. Before joining the Lubin forces 
Mr. Terwilliger was script editor of the Reliance Com- 
pany. 



Gaumont Co. to Have City Offices 

The Gaumont Company has rented a large suite 
in the World's Tower Building (14 West Fortieth street), 
New York City, consisting of offices, projecting room, 
■shipping department, and reception rooms. From Sep- 
tember 1 onward a great deal of the office work will be 
-trans-ferred from Flushing to New York, and it will un- 
doubtedly be a very great convenience for customers to 
"see the principals in the city itself. 



Can George Terwilliger Swim? 

George Terwilliger of the Lubin scenario department 
is receiving a free course oi stenography and a new type- 
writer as the result of a wager with Emmett Campbell 
Hall, another Lubin dopester, to swim across the Schuyl- 
kill- river at the point where it runs through the Lubin 
farm at Betzwood. On the strength of his victory the 
scenario doctor is scheduled to race Howard M. Mitchell 
for championship - honors of Lubinville. Terwilliger, 



Said to Be Last W^ord in Features 

"Jephtha's Daughter," scheduled for early release 
by Venus Features, is said to be the wonder picture of 
the year. In a wire to the Venus sales manager, Charles 
Simone, Mr. Evans says : "Saw 'Jephtha's Daughter' run 
off last night. It is the finest picture I have ever seen 
.on any screen. Various film authorities proclaimed it 
the last word in features. One of the experts enthusi- 
astically added that 'Tepthah's Daughter' makes 'Dante's 
Inferno' look like an amateur's work." Miss Constance 
Crawley and Mr. Arthur Maude play the "leads" in the 
aforesaid productions ; they have the support of a very 
select company of players. 



American Actor Held Up 

It was no make-believe hold-up that was experi- 
enced one night last week by L. J. Marcet, an actor with 
the American Film" Company ~ at "Santa Barbara, Cal. 
;Marcet, "who had been seeing a lady friend home, was 
returning about 11:30 o'clock, when he was accosted by 




Scene from "The Black Lily Gang," Kleine-Cines release of Sept. 



148 



MOTOGRAPHY 



Vol. X, No. 4 



two boys, one of whom held a revolver while the other 
went through his pockets. Marcet, it seems, had left his 
purse at home and had just one stray dime in his clothes. 
This the juvenile bandits found and then permitted their 
victim to go on, with the usual instruction about looking 
back. 

Railroad Policeman William Beck, seeing the boys 
as they ran along the track, took them in custody when 
he found they were armed. At that time it was not 
known at the station that the boys had just conducted a 
hold-up, but later on, when confronted by Marcet, they 
admitted their connection with the robbery. Their only 
excuse was, "We needed the money." 



New Poster Soon Ready 

One of the most beautiful posters that has been used 
by motion picture manufacturers is soon to be an ordi- 
nary thing with the Essanay Film Company. Don 
Meaney has been working overtime in the endeavor to 
get something original and beautiful, and, judging from 
the sample that he has in his office, the fronts of the 
theaters are going to be more dressy in future when 
showing Essanay pictures than in the past. One unique 
feature of the posters is that the trade-marked name 
"Essanay" appears at the top of all one, two, three and 
six-sheets, the Indian-head showing through the name 
in colors. 



George Kleine Gives Free Entertainment 

That clubs and similar organizations in Chicago find 
a ready response with George Kleine for equipment and 
film for any kind of a charitable work seems well evi- 
denced by the constant string of "Windy City" organiza- 
tions that are the recipients of his generosity. Last week 
the Columbia Yacht Club was given all equipment for 
the running of an eight-reel show for the benefit of char- 
ity. The Vitagraph Company also supplied some of the 
reels used. 



"The Wonderful Toppeweins" Filmed 

Recently at the South Shore Country Club, Chicago, 
the "Wonderful Toppeweins" presented their shoot- 
ing act before a battery of moving picture cameras. Be- 
cause Winchester arms and ammunition were used ex- 
clusively the cost of the negative was defrayed by the 
Winchester Company. 

This film is to be exhibited under the auspices of 
gun clubs throughout the United States and Canada. 



More Kid Pictures Coming 

Director Harry C. Matthews of the Venus Features 
continues making the most delightful "kid" and fairy 
tale pictures conceivable. A few of his recent successes 
arc: "The Love of Princess Yoland," "Gretchen," and 
"The I -ittle Shepherd," all two-reel features. Miss Elsie 
Albert and Baby Farly divide the honors and shine 
amidst a galaxy of excellent players. 



T. H. Blair Returns to Picture Field 

Announcement is made this week of the fact that 
Thomas Henry Blair, who nearly a score of years ago 
made celluloid films and cameras, is soon to re-enter the 
picture field. Mr. Blair has been absent from the trade 
field so long a time that to many he is probably unknown, 
though his presence is sure to make itself felt again 
within the near future. It is understood that a new 



motion picture projector will be brought out by Mr. 
Blair, and our readers will probably hear more of this 
as soon as the inventor is ready to make his formal 
announcements. 

Neff Conference Accomplishes Little 

The conference on the censorship question, arranged 
for by President M. A. Neff, of the Motion Picture 
Exhibitors' League, with representatives of the Uni- 
versal, the General Film Company and the Mutual Film 
Corporation, was held on Thursday, August 7, at the 
Hotel Imperial, New York City, but no action was taken 
and the meeting was important only in that it brought out 
definitely the ideas of Mr. Neff on censorship. 

Attorney Small represented Mr. Dyer, of the General 
Film Company, and J. C. Graham acted for the Universal, 
while Mr. Toomey, of the Mutual, was unable to be 
present. Messrs Small and Graham listened to Mr. Neff 
and then decided to "watch and wait" to see how the 
Ohio State Censor Board will work out. On the whole 
the manufacturers seemed to be little interested in the 
censorship question, Mr. Small expressing the opinion 
that any sort of censorship was needless, as the public 
were, after all, the best censors of pictures. 



Bill was a Bit Nervous 

In the Eclair film, "The Thirst for Gold," Will E. 
Sheerer was Convict 220, who is pronounced dead by the 
military surgeon, otherwise Kindly Fred Truesdell. But 
Fred is strong for realism in films. After he pronounces 
Convict 220 dead, he is carried into another room for 
dissection, but comes out of a coma and makes his escape 
with the greedy surgeon's connivance, on promise of 
sharing the stolen gold he has hidden. Well, things 
went all right during rehearsals, but Bill did not like the 
looks of Doc Fred Truesdell's shiny dissecting knives. 
When the crank began to turn, Fred sprang forward to 
carve him up so earnestly, that as the cold steel tickled 
Bill's ribs, he jumped up with a suddenness that threw 
the surprised Fred entirely out of the picture. After 
explanations, and a mutual understanding between the 
supposed corpse and carver, the picture went on. Bill 
only wanted to make sure that Fred was not nursing a 
slight grudge against him. 



The Magic of a Name 

The publicity department of the Essanay Film 
Manufacturing Company is authority for the statement 
that recently when little six-year-old Dorothv Williams 
was to undergo an operation on her tonsils and the physi- 
cians were unable to give her ether owing to her instinct- 
ive terror, the magic name of "Broncho Billy" helped 
her to summon up her courage to the point where the 
ether could be administered and the operation performed. 
The child had promised to undergo the operation but 
when actually in the operating room her nerves failed 
and she begon to cry. When her mother reminded her 
of Broncho Billy, saving, 'You know Broncho Billy is 
brave and never breaks his word." the little girl gravely 
overcame her fears and submitted herself to the doctor's 
hands. Such is the story of the power of a name, espec- 
ially to the heart of a child ready to absorb ideals. 



The American Film Manufacturing Company an- 
nounce the release of "Red Sweeney's Defeat," Saturday. 
September 13, 1913, a one-reel western feature. Other 
subjects on the same order will follow, as there has been 

a big demand for this class of subjects. 



August 23, 1913 



MOTOGRAPHY 



149 



Brevities of the Business 




PERSONAL NOTES. 
; J NTIL he broke into the show business on or about March 1, 
U 1908, L. M. Cobb was a photographer. Lockwood, Dade 
county, Missouri, was his birthplace on September 9, 1888. Being 
a photographer by profession, the advent of moving pictures 
naturally interested him mightily, and in 1908 he became an 
operator at one of the theaters at 
Quanah, Texas. By constant study 
and strict attention to business 
Mr. Cobb soon rose to the posi- 
tion of manager of the theater in 
which he had been employed. In 
the early part of 1910 a company 
was formed to open the Empire 
theater at Quanah, and a soda 
fountain and confectionery stand 
was placed in the lobby of the 
new theater. Mr. Cobb was made 
manager of this and handled it 
so well that he attracted the at- 
tention of the manager of the 
United States Amusement Com- 
pany, a film exchange of Amaril- 
lo, Texas. He was offered a posi- 
tion as shipping clerk with the 
exchange and, believing it offered 
a chance of sending him another 
step upward, he accepted. With- 
in the year he was made manager 
of the concern. When the Mu- 
tual Film Corporation opened an office in Amarillo this year, 
Mr. Cobb was offered the managership and is more than making- 
good, if one can judge from the business being handled. Still 
a young man. with a thorough knowledge of the film game 
from all angles, it looks as though the future held much for him. 

Miss Mary Charleson, of the Yitagraph Players, has recent- 
ly come East from the Western studios and is now at the Vita- 
graph studios in Brooklyn. She is staying with her aunt, Miss 
Kate Price, at her home at Brighton Beach. "The Intruder" is 
the first play in which she is seen since leaving the West. 

Dan Mason, the well-known character comedian who will 
be remembered in "The Man from Mexico," "Why Smith Left 
Home," "The Prince of Pilsen," "It Happened in Nordland," 
and numerous other big successes, is enthusiastic over his affilia- 
tion with the Edison Company. 

Tefft Johnson, of the Vitagraph Players, is looking for a 
suitable location for a chicken farm on Long Island. He wants 
to find a place not too far from the water's edge as he is an 
enthusiastic fisherman as well as being a keen chicken fancier. 
In connection with his hobby of raising chickens, Mr. Johnson 
tells an amusing story of his boyhool in the country. He was 
given five dollars with which to buy some chickens for himself, 
and returned bringing ten splendid fowls with him ; nine of them 
were roosters. 

Laura Sawyer's clever dramatic work has again been brought 
out in the detective stories in which she is playing the leading 
part. Her performances are invariably forceful, and she shows 
remarkable powers of repression in scenes which less capable 
players would spoil by over acting. 

Charles Chapman, the scenic expert of the Vitagraph studios, 
has just completed his new bungalow at Rockaway Point, Long- 
Island. Last year he was elected "mayor" of the Point, and it 
seems likely that he will receive the same honor this season. 

Frank McGlynn, late of the Chicago production of "Officer 
666," made his return to Edison films felt at once by the power 
of his acting. 

George Cooper, who will be remembered in "The Mills of 
the Gods," "The Drop of Blood," and some of the Lambert 
Chase series, produced at the Eastern Vitagraph studios, recently 
went to Santa Monica to join the Western Vitagraph Company. 
On his way he stopped at a hotel in Los Angeles for a day or 
two. While there, somebody helped himself to George's gold 
watch. George reached his destination on time and is now work- 
ing hard in Western productions with the determination to secure 
another watch, this one to have a burglar-proof attachment. 

Herbert Prior spends all his time, when not engaged in on" 
of his clever characterizations, in piloting Mabel Trunnelle around 
in his benzine buggy. "Herb" is an accomplished chauffeur but 
it is doubtful if he will ever be as good at the wheel as he is on 
the screen. 



Wilfrid North, the well-known Vitagraph director, is a golf 
enthusiast of the most pronounced type. He was recently playing 
at Lenox, Mass., where he gave a splendid demonstration of 
difficult points in the game. He is a frequent visitor to Dun- 
woodie, New York, and is the holder of three golf cups given 
by the Dunwoodie Gold Club. 

Don A. Meaney, the enterprising dopester for the Essanay 
Film Manufacturing Company, appears as a lyrical artist on the 
cover of what is destined to be a very popular song, entitled, 
"There is No Little Girl Like You." 

Jack Johnstown returned from his flying trip to "Old Ire- 
land" and got back into harness at the Eclair studio by smashing 
$300 worth of fixtures in a realistic saloon brawl. 

Francis Powers formerly of Pathe Freres and late director 
for the Universal Company, is now directing at the Reliance 
studio. He is a man of broad experience in stage craft, having 
been well known as an actor and an author before he entered 
the moving picture field. For several years he was associated 
with David Belasco, making a number of valuable contributions 
to the dramatic stage as a playright. 

Margarita Fischer had quite a painful accident the other day 
while performing in "Paying the Price" under the direction of 
Otis Turner. Bob Leonard, who took the lead opposite Miss 
Fischer, slammed a desk down on her fingers and she had a 
hard time to finish the scene. Bob is very vigorous but he is also 
tender hearted and suffered almost as much as Miss Fischer 
when he learned what had happened. 

Helen Marten and Milly Bright, of the Eclair studio, are 
practicing swimming stunts for a thriller that will be filmed 
shortly in which the girls will have to put over business that 
would be worthy of Annette Kellerman and Odiva combined. 
Helen and Milly approve of the Ostend one-piece style bathing- 
suits, but refuse to state whether they will wear that kind in 
the picture. 

Harry C. Matthews, of the Venus Films, is now producing 
a wonderful Persian story adapted from the Arabian Nights. 

Mary Fuller, Augustus Phillips, Walter Edwin and the 
other Edison Players in Maine are combining hard work with 
a great deal of fun. One film under preparation required that 
Miss Fuller learn to sail a boat, and when it became known, 
every male in Belfast from the age of 16 to 50 placed his boat 
and his vast experience at her disposal. As a result, Miss Fuller 
has added sailing to her long list of accomplishments. 

Director J. Farrell Macdonald, of the Venus Feature Films, 
is engaged upon a picture of particular interest. It is written by 
Harrison Delruth who was shot and killed in Los Angeles some 
months back and who wrote the beautiful Pelleas and Melisande 
from Maeterlinck's play which was produced by Mr. Macdonald 
with Constance Crawley and Arthur Maude. This photoplay 
is called "Circumstancial Evidence," and was the last script 
Delruth wrote. 

Baby Early went with her aunt, Elsie Albert, to have some 
photographs taken. Miss Albert, who had previously had some 
beautiful photos taken with low neck and with a gauzy veil 
thrown across her shoulders was taken aback when Early said 
to the man, "NOW — I want some naked pictures like Aunt 
Elsie's." 

Little Clara Horton, the Eclair kid, was given a birthday 
party at the studio, with nine bright, pink candles on a bright, 
pink cake. Nine plates laid for nine happy kiddies, who played 
nine bullv games that the "Happy Family" had arranged before 
hand. Then Clara took her nine little presents, and heaps of 
big presents home, and at nine o'clock that night, she had — 
well, ice cream and water melon don't always agree, and Clara 
had an unexpected vacation for several days. 

A. W. Thomas, photoplaywright, critic, editor, story writer, 
and lately editor-in-chief of the Photoplay Clearing House of 
Brooklvn, New York, and associate on the Motion Picture Story 
Magazine, has accepted the position of Editor-in-Chief of the 
Photoplay Magazine, Chicago, his editorship to begin with the 
October number. 

Allan Dwan is putting on his own version of Whitcomb Riley's 
poem, "He Called Her In." James MacQuarrv, Pauline Bush 
and Jessalyn Van Trump take the leads. Wally Reid, of Mr. 
Dwan's company, is still quite ill. 

Miss Margaret Prussing, a daughter of Mr. and Mrs. 
Eugene Prussing, prominent in Chicago society, is now a member 
of the Selig Chicago stock company. 

Edwin August, of the Universal, has taken his company to 
the Azusa Hills for a time and will produce several photoplays, 



150 



MOTOGRAPHY 



Vol. X, No. 4 



one and two reels in many interesting parts of California which 
have not yet been covered. His company includes Iva Shepherd, 
Mrs. W. McConnell, Alice Rhodes, Chance Ward and A. W. 
Coldewey. 

Ben Wilson caused about as large a local disturbance as the 
big storm which struck New York recently. Like every one 
else in the studio, he was caught without an umbrella. He had 
been working for George Lessey that afternoon in a scene in 
which an umbrella played an important part. 

Richard Tucker, a bank clerk, was accused of stealing ten 
thousand dollars, which had fallen into an open umbrella at the 
side of a desk. Ben Wilson, as his brother-in-law, had stuck 
by him until he was proven innocent. Wilson thought of the 
umbrella when he started home but forgot the ten thousand 
dollars. It had stopped raining when he left the studio but 
began again when he reached Webster avenue. As he raised 
the umbrella, the ten thousand dollars in stage money was 
scattered on the pavement and every sheltering doorway was 
vacated by loungers and refugees from the storm, who eagerly 
belped to pick up the money, in hope of a reward. There were 
several harsh words spoken when Wilson smilingly walked on 
and they found themselves in possession of pieces of wet paper 
not worth a postage stamp. 

Frank Montgomery and company are in Bear Valley and 
are having a good time. Monty says it is the best country in the 
world for pictures of his type. Two of his Indians were nearly 
drowned the other day and were saved by Jack Blystone and an 
actor named Cole. 

Henry McRae is putting on one of the most wonderful 
animal pictures ever attempted at the Universal. William Clif- 
ford, Sherman Bainbridge, Phyllis Gordon, Margaret Oswald, 
Jane Darrell, Frank Howe and Clarence Burton do some splendid 
acting, and there are two particularly thrilling scenes ; in one a 
375-pound python, which is thirty-one feet long, attacks and 
kills an Indian who is about to murder a man in the jungle; 
in another, Clifford is bound and left to the mercy of the 
denisons of the jungle, and a tiger is just about to spring upon 
him when the animal is attactracted to a snare which has been 
placed for its capture by some hunters. The animal trainer is 
H. F. Sander. 

Gertrude McCoy has returned to the Edison studio after a 
delightful vacation of two weeks spent in the picturesque Blue 
Ridge Mountains. 

Isidore Bernstein, the general manager of the Universal, has 
had a large apartment converted into a green room for the use 
of the actors and actresses who are waiting to "go on." It is 
provided with newspapers and magazines, etc., as well as writing 
materials and comfortable chairs. It is a splendid innovation 
and keeps the stages and sidewalks free. 

Miriam Nesbitt and Marc MacDermott have comparatively 
seldom been called upon to do especially perilous scenes before 
the camera, but their work in "Flood Tide" certainly falls under 
that classification. The Cornish coast, in the neighborhood of 
Ball Point Light, is famous for its perpendicular cliffs, it being 
impossible to "double." Miss Nesbitt's and Mr. MacDermott's 
work was full of danger. It will be tremendously effective on 
the screen, but it will never be as thrilling to any audience as it 
was to the players who fought their way to the top of the cliffs. 



ROLL OF STATES. 

ALABAMA. 

A picture show has been opened at Brighton, on Main street, 
by Eikin & Mosley, of Birmingham. 

CALIFORNIA. 

Occidental Motion Picture Company, Los Angeles, capital 
stock, $25,000; subscribed, $5. Directors: F. E. Wolfe, C. F. 
Walsh, Fred Siegert, J. B. Sturtevant. N. P. Moerdyke. 

Architect A. W. Cornelius, of San Francisco, took out a 
permit for $75,000 to construct the proposed Turner & Dahnken 
motion picture theater on K street, Sacramento, between Eleventh 
and Twelfth streets. 

DISTRICT OK COLUMBIA. 

J. M. Swanson, of the Lyric Amusement Company of Wash- 
ington, D. C, is planning a new theater for Washington. It will 
seat 1,000 people and will be the largest and most up-to-date 
picture house in the city. At the rear of the theater will be an 
airdome for summer use, which will accommodate 1,500. The 
building will be completed by January 1st, when the formal 
"inning of the theater will be held. 

COLORADO. 

Tin- Curran Opera House at Boulder, owned principally by 
James Curran of Denver, has been leased to Kohn & Fairchild, 
of Fori Collins, who have turned the same into a large moving 
picture house. 



ILLINOIS. 

A cozy new picture theater known as "The Home" has been 
erected at 1718 West Fourth street, Rock Island. It cost $4,500 
and is an attractive and comfortable house. It is being con- 
ducted by Joe Brown, the veteran bill poster. 

Foster Photo Play Film Company, Chicago, $2,500 ; manu- 
facture and deal in photo pla3's. Incorporators, William Foster, 
Joseph Shoecraft and Robert Hanson. 

Vermilion Amusement Company, Danville, $5,000 ; moving 
picture business. Incorporators, William M. Cannaday, Frank 
H. Ramsey and Lawrence G. Griffith. 

Mr. Schultz will, in the near future, take charge of the 
Opera House and run a moving picture show at Dallas City. 

Geo. W. Ross has completed arrangements to build a motion 
picture theater on Seventh street between the Manufacturer's 
State Bank and Anselme's grocery, at East Moline. The building 
will be completed by October 1st. George Mills, of Moline, is 
the lessee. 

Sheridan Road Theater Company, Chicago ; capital stock, 
$16,000 ; theater and amusement business ; George A. Trude. 
Benjamin B. Kahane and Orville W. Lee. 

The Parkway Theater, located on Chicago's north side, 
opened again on August 13th, after having been closed several 
weeks for renovation and a general overhauling. C. O. Neilson 
is manager. 

Danville's new picture theater, the Central, is located in the 
Meis block. East Maine street, and is one of the finest arranged 
houses in this section of Illinois. The firm of Davis & Ogle is 
the Springfield firm back of the new theater which measures 125 
feet deep by 46 feet in width and the seating space extends for 
a distance of 96 feet, giving plenty of room. The seats are of 
the latest models and are built for comfort. 

INDIANA. 

The prevalent demand for a moving picture entertainment 
has reached Winona, and Science hall, one of the large buildings 
near Robert Raikes pavilion, has been put in order for the 
installation of a complete equipment for exhibiting moving pic- 
tures of a high class. 

The Hyde Park Amusement Company, a moving picture 
concern, filed incorporation papers. They expect to open about 
September 1st at Illinois and Thirtieth streets, Indianapolis, a 
photo playhouse. E. Linwood Hardy, president. 

Three building permits for moving picture theaters were 
issued at Indianapolis. All are for one story buildings to be 
constructed of brick. One is to be erected at 515 Indiana 
avenue by N. A. Smathers, and is to cost $3,500. The second is 
to be built by E. G. Sourbier at 154 North Illinois street and is 
to cost $5,000, and the third is to be built by the Liberty Amuse- 
ment Companv at Noble street and Massachusetts avenue and is 
to cost $5,500." 

Mutual Film Corporation. Indianapolis, $5,000; to manu- 
facture and sell picture frames, etc. ; E. H. Brient, E. R. Conder. 
W. C. Toomey. 

A three-story building is being erected in Rochester, by 
J. F. Dysert and leased by Roy Shanks for a picture theater. 
The seating capacity will be 500. The cost will approximate 
$25,000, and when completed will be one of the prettiest and 
safest theaters in northern Indiana. 

IOWA. 

Milton is to have a new opera house and picture show 
combined. A company of home men has been formed, with R. 
G. Conner at the head, and will erect a large building where 
the old grain elevator stands. 

L. C. Webb sold his interest in the Idle Hour picture show 
at Lamoni. and Ray Chasey has been put in as manager by the 
new owner. Mr. Webb has not decided what he will do. 

A new moving picture theater in Nemaha is nearing com- 
pletion. 

O. C. McClinton. formerly in the restaurant business in 
the shop district of Waterloo, will open a moving picture 
theater at Rochester. Minn., on September 1st or thereabouts. 
A handsome building is being erected for his use on the only 
vacant lot of the principal business thoroughfare, and he will 
install a ten-cent show. 

KENTUCKY. 

The National Moving Picture Company, a Louisville or- 
ganization, will erect a theater to cost $125,000. 

J. O. West will put in a moving picture show in his building 
at Hickman. 

MICHIGAN. 

Robert Jackson, Jr.. ex-chief of police of Negaunee, has 
purchased the Bijou moving picture theater at Sault Ste. Marie, 
Ont., and has already taken it over. 

The Stocker Amusement Company, a new moving picture 



August 23, 1913 



MOTOGRAPHY 



151 




GENUINE I VAUDEVILLE 



GARFIELD I THEATRE 



SEATS m$i new SHOW .^s 

J CM I J IU T | MONDAY* THURSDAYS 




Front of Garfield Theater designed by Decorators' Supply Co., Chicago, 111. 



show firm at Detroit, filed articles of association showing a 
capitalization of $6,000. 

Thoma J. Kato, of Kyoto, Japan, has purchased the American 
moving picture theater at Rivard and Gratiot streets, Detroit, 
for $30,000. It will be run as a Japanese moving picture house. 

MINNESOTA. • ' 

Charles Perrizo. operating a moving picture show at Winne- 
bago City, will build a new play house 29 x 90 feet on Main 
street at Blue Earth. 

The J. M. Hayes building, a landmark in Brainerd for half 
a century, is being torn down to make way for a modern brick 
structure, for a moving picture show. 

Thomas Furniss, of Duluth, issued elaborate invitations for 
the opening of his new Duluth picture house, the Rex, for 
August 14th. The announcement includes the information tha't 
only the best pictures will be shown at the Rex, that an orchestra 
with Kenneth E. Runkel as director, will entertain, matinees and 
evenings, that no expense has been spared to make the Rex the 
most magnificent house in the West devoted to photo-plays, 
and that it is the Furniss picture house de luxe. 

MONTANA. 

Missoula is to have another moving picture theater. The 
man behind the venture is Joseph Apple, of Philipsburg, who 
has been conducting a theater in that place. He has come to 
Missoula to enter into negotiations for the remodeling of the 
building recently vacated as a garage near the high school on 
South Higgins avenue. 

NEW YORK. 

The Moral Feature Film Company. Inc., of Manhattan ; 



theatrical; $25,000. Samuel H. London, Myrtel Coblentz and 
Herman Baer ; 746 St. Nicholas avenue, New York. 

Pan-American Film Manufacturing Company, Inc.. of Man- 
hattan, motion pictures ; $10,000. Edward D. Feldman. Lionel E. 
Lawrence and J. Clinton Gavigan, all of 1402 Broadway, New 
York. 

Knapp & Wasson Company leased for the Robert E. \\ est- 
cott estate the fireproof moving picture, theater now in course 
of construction in the west side of Wadsworth avenue about 
forty feet south of One Hundred and Eighty-first street. New 
York. The lease is for ten years at an aggregate rental of 
about $90,000. The theater will" be completed about October 1st. 

OHIO. 

Architect J. W. Matz is preparing details of the motion 
picture theater to be erected adjacent to the Coad Block, 
Toledo, and will cost $15,000. 

The Ideal photo-play house, Wooster avenue and Kolb street. 
Akron, has been opened up for business. 

A Lima church has decided to install moving pictures. 
Rev. C. P. Goodsen. pastor. Olivet Presbyterian Church, corner 
Kibby and Elizabeth streets, Lima. 

Plans are in the hands of Architect J. S. Goldsmith for a 
large one-story picture show to be built in Main street between 
Seventeenth and Eighteenth streets, Columbus, for J. H. Miller. 
It is to be 50 x 160 feet in dimension. 

J. A. Maddox has resigned as manager of the Colonial 
Theater at Columbus. Formerly he was owner of the Princess 
theater and president of the local motion picture exhibitor's 
league. 

The Royal moving picture show, on South Main street, 



152 



MOTOGRAPHY 



Vol. X, No. 4 



Findlay, owned by Ira Wright, who also is the proprietor of 
the Victor, is being renovated. Following the completion of 
the repairs at the Royal, Manager Wright will begin the work 
of improving his other film house. 

The Photo-Play Company, Akron ; moving picture shows ; 
capital $25,000 ; H. E. Andress, W. E. Young, G. B. Motz, C. C. 
Wise, R. E. Moore. 

Architect Charles F. Wright is taking bids for the erection 
of a one-story picture show building to be erected at Alden 
avenue and Summit street, Columbus, for E. L. Stanton. The 
building will cost about $8,000 and is of a type of the most 
modern of picture shows. 

Architect F. W. Elliott awarded the contract for a $25,000 
picture show building to be erected in Lancaster for Edward 
Mithoff to G. E. Kneller of that city. Work has been started on 
the Gus Sun Theater building at Springfield after plans by Mr. 
Elliott. 

A three-story fireproof building is to constructed this fall 
at the southeast corner of Elm street and Opera place, Cincinnati, 
for the General Film Company, one of the largest factors in the 
motion-picture industry in the United States. The structure is 
to be made the headquarters for its business in the Central West. 

PENNSYLVANIA. 

Wm. Echbold's Sons are having plans prepared for the 
erection of a picture theater to be erected at 707 E. Girard 
avenue, Philadelphia. 

J. Richard Jackson is estimating on plans and specifications 
for a moving picture theater to be erected at 1334 Arch street, 
Philadelphia. William H. Hoffman, architect. 

James G. Doak & Co. have been awarded the contract for 
the moving picture theater to be erected at Market and Juniper 
streets, Philadelphia, for the Finance Company, of Pennsylvania. 
W. H. Hoffman & Co., architects. 

Joseph Farbstein is estimating on plans for a one-story 
brick and terra cotta moving picture theater to be erected on 
the south side of Wayne avenue west of Logan street, Philadel- 
phia, for Charles Weinberg. R. Werner is the architect. 

Cahn & Gross, owners, are taking bids for a one-story 
brick moving picture theater, 70x90 feet, to be erected at Fifth 
street and Moyamensing avenue, Philadelphia. W. H. Hoffman 
Company, architects. 

Morrellville is to have a moving picture theater open within 
the next two weeks, according to Harry G. Gardner, who has 
secured a lease on the Scholz building, Fairfield avenue. 

Margolin & Block will be granted a permit for a moving- 
picture theater at No. 1903 Columbia avenue, Philadelphia. 
Cost about $15,000. 

The Ideal Amusement Company is soon to erect a $65,000 
moving picture theater at the corner of Moyamensing avenue 
and Jackson street, Philadelphia. 

The Joseph Levin Company is taking estimates for a moving 
picture house at 1106 North Fortieth street, Philadelphia, for 
I. Beban. 

SOUTH DAKOTA. 

The Elgin opera house at Castlewood is being remodeled 
and a picture show will soon be installed. 

TEXAS. 

Albert Warren is having plans prepared by J. D. McBride 
& Robb, Aransas Pass, for a moving picture theater. 

The contract was let for the erection at an early date of a 
moving picture theater for Palestine that will cost $12,500. 
It will be erected on Crawford street and will be leased by 
I no. R. Hearne, Jr. 

About fifteen of Clifton's business men met and organized 
the Clifton Amusement Company; this company is installing an 
up to-date picture show in the heart of the business section. 
The show will be known as "The Lyric," and will be located 
in the Mixon building, 

The officers of the company are: J. K. Hutton, president: 
W. S. Mixon, vice-president; Jodie Grimland, treasurer, and 
Fred Nelson, secretary. The officers, together .with Dr. G. W. 
Collins, will form a hoard of directors. Fred Nelson will be 
the manager of the show. 

UTMi. 

The advisor} board for this State for the Education Film 
and Service Corporation has been named by J. E. Byrnes, the 
western representative of thai concern. The company is also 
negotiating with Shirley Y. Clawson as local representative of 
the concern to establish a film exchange lure as headquarters 
of distribution throughout the State. The board has Kern 
named as follows: A. C. Nelson, stale superintendent of public 
instruction; the mayor of Salt Lake; Rudger Clawson. member 
of tin 1 Church hoard of education of the "Mormon" Church; 



Levi Edgar Young, of the University of Utah ; Dr. T. B. Beatty, 
secretary of the state board of health, and F. S. Harris, of the 
Utah Agricultural college. 

VIRGINIA. 

Extensive improvements are to be made at the Colonial 
theater, at Norfolk. Wilmer & Vincent will renovate same. 

WASHINGTON. 

The Alaska is a new theater to be erected at Seattle to cost 
$150,000. Warren H. Miller, architect. This announcement is 
the direct result of a lease negotiated recently by Henry Broder- 
ick, Inc., for Capt. W. R. Ballard, representated by Walter 
Friedenberg. 

The Yakima Amusement Company of North Yakima will 
erect a theater building and have been incorporated for $25,000. 

WEST VIRGINIA. 

John B. Marple and Alvin Bryant, two local young men, 
have leased the motion picture house on Marshall street, Wheel- 
ing. The house will be thoroughly cleaned and put in first class 
condition and will be ready for the opening about the first of 
September. Only first class photo-plays will be shown. 

WISCONSIN. 

Ground has been broken for the new moving picture theater 
to be erected near the corner of Elizabeth street and Howland 
avenue, Kenosha. It is expected that the building will be 
completed by latter September. 

The senate committee on state affairs at Milwaukee reported 
for passage the White bill for censorship of moving picture films. 
A substitute amendment was recommended by the committee 
which provides that all films shall be inspected, approved and 
labeled by the industrial commission. 

C. M. Rhea, manager of the Gladys theater, has opened up a 
new airdrome on Commerce street. This is the finest airdrome 
ever erected in Palacios. 

Lewis Bros., who have been managing the Superior theater, 
are building an . airdome on the Mercer lot on Hanna avenue, 
Calvert. 

Oshkosh is to have another very pretentious moving-picture 
house. A. H. Grey, the veteran moving-picture man, who man- 
ages the Rex and the Lyric theaters, has leased the store north 
of the former theater and he will remodel the two into one large 
picture house. Plans for the extension anticipate an expenditure 
of between $12,000 and $15,000. The store leased for enlarging 
the Rex theater formerly was Nichols' candy store. It has a 
frontage of twenty feet. The Rex has the same amount of 
frontage. The combined stores, when rebuilt into a theater, 
will have a depth of 101 feet. The new theater will be called 
the Rex and will be owned and managed by the A. H. Grey 
Company. 

The new canvas covered moving-picture theater of Baraboo. 
near the Weillington, was thrown open to the public last week. 
Philbrick & Atkinson are the promoters and owners. 



MISCELLANEOUS HAPPENINGS. 



The open-air plunge is now completed at the Tom Evans 
studios and some of the actors have shown themselves to be 
capable swimmers. 

Through the sale by court order of the effects of the Two 
Bills' Show at Denver, Thursday, July 31st, the Universal Film 
Manufacturing Company came into possession of a big addition 
to its West Coast Zoo. Two camels and seven elephants are 
among the beasts acquired. They will be sent to Universal Citj 
to be employed in the making of a new Biblical picture, which 
General Manager Isadore Bernstein has in contemplation. 

The third monthly dividend of one per cent upon the 
capital stock of the New York Motion Picture Corporation has 
been declared payable on August IS, 1913. to stockholders of 
record August 11, 1913. 

One of the employees at the Tom Evans (Venus) studios in 
Hollywood is a maker of papier mache articles, and some re- 
markable vases and other ornaments have been fashioned for 
the pictures. 

"The House of Mystery" was the title of the Klein-Cines 
release of August 8. It was found necessary, however, to make 
a late change in the name to "By Unseen Hands." The General 
Film offices will supply all theaters with correct titles. 



MOVING PICTUBE MBNI Please your Audience! Throw "Handwritten Per- 
sonal Chats" on your screenl "Personal" Interest you know Wins Patronage! 
v,in can write or sketch "Anything on our Niag-Rlne Slides, using common pen, 
Slides arc absolutely heatproof, practically waterproof, don'l scratch or smear. 12 
siicio. 3 VI by l. only 25c prepaid. Try them Immediately, Unquestionable satisfac- 
tion or "positively" money back. Chas, E^aeusser, 12117 Broadway, Albany, N. Y. 



August 23, 1913 



MOTOGRAPHY 



153 



Complete Record of Current Films 

Believing the classification of film pictures by the nature of their subjects to be of greater importance to the exhibitor than classification by maker, 
Motography has adopted this style in listing current films. Exhibitors are urged to make use of this convenient tabulation in making up their programs. 
Films will be listed as long in advance of their release dates as possible. Film manufacturers are requested to send us their bulletins as early as possibU. 
Reasonable care is used, and the publishers cannot be responsible for errors. Synopses of current films are not printed in Motography as they may be 
obtained of the manufacturers. 



LICENSED 



Date 
8-2 
8-4 
8-4 
8-4 
8-4 
8-4 
8-5 
8-5 
8-5 
8-5 
8-6 
8-6 
8-7 



8-9 
8-9 
8-9 
8-9 
8-9 
8-9 
8-9 
8-11 
8-11 
8-11 
8-11 
8-11 
8-11 
8-12 
8-12 
8-12 
8-12 
8-12 
8-13 
8-13 
8-13 
8-13 
8-14 
8-14 
8-14 
8-14 
8-14 
8-15 
8-15 
8-15 
8-15 
8-16 
8-16 
8-16 
8-16 
8-16 
S-16 
8-16 
8-18 
8-18 
8-18 
8-18 
8-19 
8-19 
8-19 
8-19 
8-20 
8-20 
8-21 
8-21 
8-21 
8-21 
8-22 
8-2 2 
8-22 
8-22 
8-23 
8-23 
S-23 
8-23 
8-23 
8-23 
8-23 



8-4 
8-5 
8-5 
8-5 
8-6 
8-6 
8-6 



DRAMA. 
Title Maker 

The Intruder Vitagraph 

The Substitute Stenographer ■ Edison 

King Robert of Sicily Essanay 

Intemperance Kalem 

The Governor • Lubin 

The Devil and Tom Walker Selig 

Dolly Varden Edison 

Homespun Essanay 

The Mansion of Misery Selig 

A Faithful Servant Vitagraph 

Shipwrecked Kalem 

The Stolen Moccasins Selig 

Under the Shadow of the Law Biograph 

The Camera's Testimony Lubin 

When a Woman Wastes Patheplay 

His Greatest Victory Edison 

The House of Mystery Cines 

The Reformers Biograph 

By Fire and Water Edison 

Broncho Billy and the Navajo Maid Essanay 

The Alibi Kalem 

When Tony Pawned Louisa Lubin 

A Woman's Way Patheplay 

The Line-Up Vitagraph 

I Was Meant for You Biograph 

The Treasure of Captain Kidd Edison 

For Her Sister's Sake Kalem 

The Outlaw's Gratitude Lubin 

The Flight of the Crow Selig 

When the Press Speaks Vitagraph 

The Rightful Heir Edison 

The Edge of Things Essanay 

Into the Light Lubin 

The Mong-Fu Tong Eclinse 

The Broken Vase Selig 

The Skeleton in the Closet Kalem 

The Erring Brother Pathenlay 

The Coast of Chance Selig 

The Flirt Vitagraph 

The World Above Essanay 

< iood for Evil Lubin 

The Robber of Angkor Melies 

The House Divided Pathepiay 

An Apache's Gratitude Selig 

The Coast Guard's Sister Edison 

Alkali Ike's Gal Essanay 

Over the Crib Lubin 

The Lady and the Glove Vitagraph 

An Indian's Loyalty Biograph 

The Pied Piper of Hamelin Edison 

The Man in the Cabin Essanay 

The Escape Kalem 

Dregs Lubin 

The Turning Point Patheplay 

The Line-Up Vitagraph 

The Substitute Engineer Kalem 

Mary's Temptation Lubin 

The Child of the Sea Selig 

Slim Driscoll Samaritan Vitagraph 

Flood Tide Edison 

The Whip Hand Essanay 

Black Beauty Lubin 

The Clown's Revenge Eclipse 

Breaking Into the Big League Kalem 

Better Davs Vitagraph 

The Sheriff of Cochise Essanay 

The Burning Rivet Lubin 

Fate Fashions a Letter Selig 

A Maid of Mandalav Vitagraph 

A Mystery of West Sedgewick Edison 

The Power of Conscience Essanay 

The Good Indian Selig 

Playing the Pipers Vitagraph 

Two Men of the Desert Biograph 

A Proposal from the Spanish Don Edison 

Broncho Billy's Mistake Essanay 

The Smuggler's Last Deal Kalem 

The Tenderfoot Hero Lubin 

The Mexican Gambler Patheplay 

The Feudists Vitagraph 

COMEDY. 

The Fortune Hunters of Hicksville Vitagraph 

Getting Married Lubin 

Roses for Rosy Lubin 

The Love Letter Patheplay 

The Romance of Rowena Edison 

Their Promise Essanay 

The Late Mr. Jones Vitagraph 

The Incriminating Letter Essanay 

The Galloping Romeo Selig 



Length 

2,000 
1,000 
2,000 
1,000 
1,000 

500 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000' 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 . 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
2,000 

500 
2,000 
1,000 
1,000 
1,000 
1,000 
2,000 
1 ,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 

400 
1,000 
2,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
2,000 
2,000 

500 
1,000 
2,000 
1,000 
1,000 
2,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1 ,000 
2,000 



500 

400 

600 

1,000 

1,000 

1,000 

1,000 

500 

500 



Date. 

8-7 
8-7 



8-12 
8-12 
8-12 
8-12 
8-13 
8-13 
8-14 
8-14 
8-14 
8-15 
8-15 
8-15 
8-16 
8-18 
8-18 
8-18 
8-19 
8-19 
8-19 
8-20 
8-20 
8-20 
8-21 
8-21 
8-22 
8-22 
8-22 
8-2 2 



8-1 

8-1 

8-6 

8-7 

8-15 

8-15 

8-20 

8-20 

8-22 



8-2 
8-2 
8-4 
8-4 
8-6 



-13 
-13 
-15 
-15 
-20 
-20 



8-4 

8-7 

8-11 

8-14 

8-18 

8-20 

8-20 
8-21 



Title Maker. I 

The Grocer's Revenge Selig 

The Penalties of Reputation. .Vitagraph 

Rescuing Dave Essanay 

Mr. Rhye Reforms Essanay 

The Hobo and the Hobble Skirt Kalem 

Her Husband's Wife Lubin 

Miss Arabian Nights Selig 

A Gentleman of Fashion ; .Vitagraph 

Every Double Causes Trouble Patheplay 

The Magician Fisherman Selig 

Bingles' Nightmare ' .'. Vitagraph 

The Joys of a Jealous Wife Vitagraph 

The Right Number, but the Wrong House Edison 

Good Night, Nurse : Essanay 

Come Seben Leben Biograph 

Papa's Baby Biograph 

Keeping Husband's Home Vitagraph 

The Millionaire and the Goose Kalem 

The Amateur Burglar Kalem 

Brown's New Monetary Standard Selig 

A Surprise for Four Lubin 

The Suffragette Minstrels . . Biograph 

Father's Chicken Dinner Biograph 

Starved Out Edison 

Napoleon Whiffles, Esq Patheplay 

Tobias Turns the Tables Selig 

Those Troublesome Tresses Vitagraph 

Bobby's Long Trousers ' Edison 

The Accidental Bandit Essanay 

The Ten Thousand Dollar Toe Selig 

The Work Habit Biograph 

Stung . . . Patheplay 

Fool Luck Kalem 

Deceiving Uncle Asa Kalem 

The Rag Bag Lubin 

Smashing iTme Lubin 

EDUCATIONAL. 

The Wonders of the Briny Deep Kalem 

A Study of Bird Life Patheplay 

With the Natives of New Zealand Patheplay 

An Intimate Study of a Mole Essanay 

Cosmopolitan Life in Cairo, Egypt.. Patheplay 

Moro Pastimes Selig 

Making Hay with Special Machinery Essanay 

Strange Traits of Serpents Patheplay 

The Lizard Patheplay 

SCENIC. 

Where Clouds and Mountains Meet Patheplay 

Colombo, Capital of the Island of Ceylon Patheplay 

The Granite Dells, Prescott, Arizona Selig 

The Celestial Republic Vitagraph 

The Grand Canyon of New York — Ausable Canyon 

Patheplay 

Snapshots of Java Melies 

Coney Island Kalem 

Genoa, Principal Port of Italy Patheplay 

Mount St. Mickel Patheplay 

Battlefields Around Chattanooga Edison 

Up Lookout Mountain on the Electric Incline Essanay 

On the Lakes of Bayrisch Bavaria Patheplay 

Picturesque Jura, France Patheplay 

Scenes in Moroland Selig 

In and About Calcutta Vitagraph 

A Visit to the Ruins of Pompeii Patheplay 

TOPICAL. 

Pathe's Weekly No. 38 Patheplay 

Pathe's Weekly No. 39 Patheplay 

Pathe's Weekly No. 40 Patheplay 

Pathe's Weekly No. 41 Patheplay 

Pathe's Weekly No. 42 Patheplay 

First Aid to the Injured by the Police of Berkeley, Cal .... 

Edison 

Auto- Polo the New Thriller Patheplay 

Pathe's Weekly No. 43 Patheplay 



ength. 

500 

1,000 

500 

500 

500 

1,000 

1,000 

1,000 

1,000 

500 

500 

500 

70O 

500 

500 

500 

1,000 

50O 

500 

500 

600 

500 

500 

1,000 

1,000 

1,000 

1,000 

575 

500 

500 

1,000 

1,000 

500 

500 

400 

600 



1,000 

500 

500 
333 
500 
500 
500 
500 



500 
500 

500 
1,000 
500 
500 
500 
300 
500 
333 
333 
500 
500 
500 



1,000 
1,000 
1,000 
1,000 
1,000 

425 

500 

1,000 



DAILY LICENSED RELEASES 

MONDAY: Biograph, Edison, Kalem, Lubin, Pathe, Selig, Vita- 
graph. . 

TUESDAY: Edison, Essanay, Cines-Kleine, Lubin, Pathe, Selig, 
Vitagraph. 

WEDNESDAY: Edison, Essanay, Kalem, Eclipse-Kleine, Pathe, 
Selig, Vitagraph. 

THURSDAY: Biograph, Essanay, Lubin, Melies, Pathe, Selig, 
Vitagraph. 

FRIDAY: Edison, Essanay, Kalem, Lubin, Pathe, Selig, Vita- 
graph. 

SATURDAY: Edison, Essanay, Cines-Kleine, Kalem, Lubin, 
Pathe, Vitagraph. 



154 



MOTOGRAPHY 



Vol. X. No. 4 



INDEPENDENT 



DRAMA. 
Date Title Maker I 

S-4 United at Gettysburg Imp 

8-8 The Triumph of Love Lux 

8-10 The Spirit of Envy Thanhouser 

8-10 Man's Dutv Rex 

8-10 The Greater Love Majestic 

8-11 The Adventures of Jacques. ! American 

8-U Kentucky Foes Reliance 

8-11 Mating Imp 

8-1 J Darkfeather's Sacrifice Nestor 

8-12 The Missing Witness Thanhouser 

8-12 Campaigning with Custer Bison 

8-12 How Women Lo\ e Crystal 

8-13 The Quakeress Broncho 

8-13 Runa Plays Cupid Reliance 

8-13 Love and Gold Ramo 

8-13 Juanita Nestor 

8-13 The Thirst for Gold Eclair 

8-14 The Mystery of Tusa American 

8-14 Getting the Evidence Pilot 

8-14 'Lisbeth Imp 

8-15 The Flame in the Ashes '. Kay Bee 

8-15 The Lie That Failed Thanhouser 

8-15 A Drop of Blood.. Solax 

8-15 Fate's Vengeance Powers 

8-15 The Heart of a Jewess Victor 

8-16 Of Such is the Kingdom Reliance 

8-16 An Even Exchinge American 

8-16 Soldiers Three Bison 

8-16 The Retribution of Ysobel Frontier 

8-16. The Smuggler's Sister Reliance 

8-16 The Flower Girl and the Counterfeiter Imp 

8-16 The Maid of the Mountains Nestor 

8-17 The Animal Rex 

8-18 A Tide in the Affairs of Men American 

8-19 The Other Side of the Fence Majestic 

8-19 An Explorer's Tragedy Gaumont 

8-19 The Iron Trail Bison 

8-19 A Greater Influence Crystal 

8-20 The Heritage of Eve Broncho 

8-20 The Counsel for the Defense Reliance 

8-20 When the Blood Calls Nestor 

8-20 The Little Skipper Powers 

S-20 The Beaten Path Eclair 

8-20 Dangerous Sympathy Ramo 

8-21 The Golden Heart American 

8-21 The Harvest of Flame Rex 

8-22 An Orphan of War Kay Bee 

8-22 The Medium's Nemesis Thanhouser 

8-22 The Smuggler's Child Solax 

8-22 The Registered Letter Lux 

8-22 The Sea Urchin ■ Powers 

8-22 The Ghost Victor 

8-23 Success Reliance 

8-23 Flesh of His Flesh American 

8-23 The Eyes of the God of Friendship Frontier 

8-23 The Great Catastrophe Great Northern 

8-24 Just in Time Rex 

COMEDY. 

8-10 Oh, You Scotch Lassie Crystal 

8-10 Starving for Love.. Crystal 

8-10 Clara and Her Mysterious Toys. Eclair 

8-10 A Woman's Trick Eclair 

8-11 Keystone 

8-11 A New Way to Win a Girl Gem 

8-12 The Doctor's Ruse Majestic 

8-12 Tiny Tim and the Adventures of His Elephant. .Gaumont 

8-13 Four Fools and a Maid Solax 

8-13 The Great Towel Robbery Powers 

8-14 Keystone 

8-14 Sally Scragge, Housemaid Rex 

8-14 His Stomach and His Heart Gaumont 

8-14 The Suffragette Tames the Bandit .Frontier 

8-15 Hawkeye to the Rescue Nestor 

8-16 A Fickle Tramp Maiestic 

8-16 A Horse on Fred Majestic 

8-16 Poor Jake's Demise Imp 

8-16 In Laughland with Hy Mayer Imo 

8-17 Waiting for Hubby Thanhouser 

8-17 Pearl and the Tramp Crystal 

8-17 One Wife Too Much Crystal 

S-17 Her Tutors Eclair 

8-18 The Would-Be Detective Gem 

8-21 The Firebugs Keystone 

8-21 In Search of Quiet Imp 

8-21 Sailing Under False Colors Frontier 



ength 

1,000 
535 
1,000 
1,000 
1,000 
2,000 
1,000 
2,000 
1,000 
2,000 • 
2,000 
1,00-0 
2,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 

2,000 
1,000 
1,000 
1,000 
2,000 
1,000 
1,000 
2,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
1,000 
2,00© 
1,000 
2,000 
1,000 
1,000 
1,000 
3,000 
1.00C 
1,000 
2,000 
2,000 
1,000 
1,000 
500 
500 
1 ,000 
2,000 
1,000 
1,000 
3,000 
1,000 



500 
500 
500 
500 

1,000 
1,000 
500 
1,000 
1,000 

1,000' 

500 

1,000 

1,000 

500 

500 

500 

500 

1,000 

500 

500 

1,000 

500 

2,000 

1,000 

1,000 



Date. 

8-21 
8-22 
8-22 
8-23 
8-23 
8-23 
8-22 
8-24 
8-24 
8-24 
8-24 
8-24 



8-12 

8-13 
8-13 
8-13 
8-18 
8-20 
8-20 
8-20 



Title. Maker. Length. 

A Tree-mendous Proposition Gaumont 1,000 

When Cupid Won Nestor 500 

Some Runner Xestor 500 

Bashful Bachelor Billie Majestic 1,000 

The Statue Imp 500 

Pen Laughs by Hy Mayer Imp 500 

Over the Garden Wall Lux 500 

An LTnromantic Maiden Thanhouser 1,000 

The Lady Killer Majestic 1,000 

Caught in the Act Crystal 500 

Hypnotized Crystal 500 

"13" at Table Eclair 500 

EDUCATIONAL. 

Sea Worms Eclair 500 

SCENIC. 

The Lakes of Salzburg Gaumont 500 

TOPICAL. 

Animated Weekly No. 75 Universal 1,000 

Mutual Weekly No. 33 ... Mutual 1,000 

Gaumont's Weekly No. 75 Gaumont 1,000 

The Elks at Rochester Gem 500 

Animated Weekly No. 76 Universal 1,000 

Mutual Weekly No. 34 Mutual 1,000 

Gaumont Weekly No. 76 Gaumont 1,000 



KINEMACOLOR 



DRAMA. 
Hare. Title Maker. Length. 

Mission Bells Kinemacolor 

Love and War in Toyland Kinemacolor 

Hiawatha Kinemacolor 

When Love Grows Up Kinemacolor 2,230 

COMEDY. 

A Family Affair Kinemacolor 

In Search of Bacchus Kinemacolor 1,500 

TOPICAL. 

Shriner's Parade and Sports, Los Angeles, Cal., 1912. Kinemacolor 
Life on Board An American Man-o-War ....Kinemacolor 



MISCELLANEOUS FEATURES. 



Those Who Live in. Glass Houses Monopol 3,000 

Fantomas Under the Shadow of the Guillotine Gaumont 3,000 

The Day of Judgment Union 3,000 

The Love Romance of Sir Francis Drake 

(Hepworth) A. K. Corporation 3,000 

Theresa, The Adventuress Great Northern Special 3,000 

Trapped in the Death Pit Union Features 3,000 

The Missionary's Sister Ambrosio Features 3,000 

Unmasked Itala Features 3,000 

The Pit and the Pendulum Solax Features 3,000 

At the Foot of the Scaffold A. K. Corporation 2,000 

A Sister to Carmen Helen Gardner Features 3,000 

The Green God Union Features 3,000 

The Streets of New York Pilot Feature 3,000 

A Woman Scorned Great Northern Special 3.000 

The Doom of Darkness True Feature 4,000 

The Greater Love Itala Feature 2,000 

Victory Victory Company 5,000 

Money's Merciless Might Gaumont 3,000 

Brennon of the Moor Solax 3,000 

The Wheel of Destruction Eclectic 2,000 

The Betrothed Pasquali 6,000 

The Black Sheep Union Features 3,000 

A Dash tor Liberty Great Northern Special 3.000 

Doctor Nicholson and the Blue Diamond 

Film Releases of America 4,000 



DAILY EXCLUSIVE RELEASES 

(Independent.) 

MONDAY: Dragon. 
TUESDAY: Gaumont. 
WEDNESDAY: Solax, Gaumont. 
THURSDAY: Gaumont. 
FRIDAY: Solax, Lux. 
SATURDAY: Great Northern. 



DAILY "MUTUAL" RELEASES 

(Independent.) 
MONDAY: American, Keystone, Ramo. 
TUESDAY: Majestic, Thanhouser. 

WEDNESDAY: Broncho, Mutual Weekly, Reliance, Ramo. 
THURSDAY: American, Mutual, Keystone, Pilot. 
FRIDAY: Kay-Bee, Thanhouser. 
SATURDAY: American, Reliance, Ambrosio. 
SUNDAY: Majestic, Thanhouser. 



DAILY UNIVERSAL RELEASES 

(Independent.) 
MONDAY: Imp, Nestor, Gem. 
TUESDAY: Bison, Crystal. 

WEDNESDAY: Animated Weekly, Eclair, Nestor, Powers. 
THURSDAY: Imp, Rex, Frontier. 
FRIDAY: Nestor, Powers, Victor. 
SATURDAY: Imp, Bison, Frontier. 
SUNDAY: Crystal, Eclair, Rex. 




ftloToGBflPhtf 




EXPLOITING 





Vol X 



CHICAGO, SEPTEMBER 6, 1913 



No. 5 




WINNIFRED GREENWOOD 

WITH 

AMERICAN 





A Magnificent, Highly Spectacular 

KLEINE-CINES 

(IN TWO ACTS) 
(For Release Tuesday, September 16th) 

This is not an ordinary "multiple." To so designate a subject of such extraordinary 
power would be injustice. Negative made during the most troublous times in the recent 
history of Italy are blended into an absorbing story not possible to any other manufacturer 
here or abroad. 

This wonderful story of the betrayal of a Nation into War by a wireless Government 
Operator contains film of: 

1. Battle scenes from the Balkan War. 

2. The disappearing thirteen-inch guns of the great Italian Batteries. 

3. Scenes from the Opera "Aida" (as per above). 

4. The Streets of a great City swarming with thousands of War-Mad people, with all 
the attendant excitement of stump orators, fanatics, etc. 

5. The complete workings of a Government wireless station. 

6. The issuance of the first "War Extra" showing the excitement in the editorial 
rooms, the feverish haste of compositors in setting the type, the great presses with 
their human-like arms grinding out the inflammatory news, the newsboys and old 

women gathering the paper at the circulation 
entrance and the mobs that fairly tore the 
papers from their grasp. 

About this wealth of film material made 
by the famous Cines Company during the 
Italian-Turkish and Balkan wars, a delightful 
story has been woven — the story of a Govern- 
ment wireless operator, who bribed by bank- 
ers speculating for a decline in stock, de- 
liberately changes a message telling of the 
success of peace negotiations to read the 
failure of those negotiations and the necessity 
for War. To follow the son of this wireless 
operator through the dastardly-made war, to 
see him die in the thick of battle by the ex- 
plosion of a bomb, is to realize what the acme 
of perfection means as applied to multiple- 
reel subjects. 

Special line of advertising matter to ac- 
company this wonderful subject — including 
some especially handsome 1, 3 and 6 sheet 
lithographs. 




Remember the Date is Tuesday, Sept. 
16th— and Book it! 

(Released through General Film Compon> 

George Kleine 

166 N. State St., Chicago, III. 



September 6, 1913 



MOTOGRAPHY 



SEE THESE LENSES ! 




A CHEAP service will produce clean- 
cut, stereoscopic pictures if projected 
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CHICAGO, SEPTEMBER 6, 1913 



TABLE OF CONTENTS 

Scene from Edison's "Keepers of the Flock" Frontispiece 

Editorial 155-156 

Benefits of Organization 155 

The Silence is Broken 156 

Supernumeraries Well Handled 5§ 

Night Photography 158 

Gene Gauntier Goes Abroad 1™ 

Sans Grease Paint and Wig. By Mabel Condon J«R 

The Grecian Vase • • • J °j{ 

Wells Contracts for Kinemacolor 160 

"Sappho" and "Moths" for Mutual 160 

On the Outside Looking In. By the Goat Man 161 " 16 -1 

Film Studio for Seattle J 6 ?} 

Stork Visits Hite Home 1°4 

Reincarnation Theme of Essanay Film 155 

Reorganize New York State League 16° 

New York Association Formed 1°° 

Myography's Gallery of Picture Players l ° 7 

Fixes Date of First Picture Machine 168 

Just a Moment Please • • • ■ ■ ■ - • • • ■ , ,. J°° 

Motion Picture Making and Exhibiting. By John B. Rathbun iS?"Ji? 

Second Picture of Series Ready 174 

Prominent Exhibitors _ _ } ,7 

What the Future Holds for Pictures 5 ~}l* 

President Neff Makes Statement y '° 

Call for Illinois Convention.... l! ° 

Call for Indiana Convention 177170 

Current Educational Releases 170 ion 

Recent Patents in Motography ';' !" 

Of Interest to the Trade 1 si 

A Stupendous Undertaking *°J 

Majestic Moves into New Quarters • J°* 

Territorial Sales Record Broken j°* 

New Managers Appointed J" 

Eclair Filming Classics ■ • j°7 

New Quarters for Warners »J 

Brevities of the Business isqiqrt 

Complete Record of Current Films i»y-iw 



BENEFITS OF ORGANIZATION. 

MOTION picture exhibitors of the United States, 
whether members of the Motion Picture Exhibit- 
ors' League of America or the International Motion Pic- 
ture Association, will be interested in the work being 
done by the Cinematograph Exhibitors' Association of 
Great Britain and Ireland in coming to the aid of one of 
its members, who was arraigned upon a charge of having 
projected in his theater an immoral film called "Sapho," 
as showing the need for and value of an exhibitors organ- 
ization. 

Instead of bickering among themselves over trivial 
matters, the Cinematograph Exhibitors' Association en- 
deavors in all matters, both great and small, to assist 
and be of real value to its members, and, as a result, is 
rapidly increasing its membership and bids fair to be- 
come, within a very short time, not only a very powerful, 
but also a very wealthy association. 

Not many hours after William Henry Lancaster, 
proprietor of the Alhambra Picture Palace, of Darling- 
ton, England, had been arrested for showing the "Sapho" 
film, the chief officials of the Cinematograph Exhibitors' 
Association became active in his behalf. Dr. Fowler 
Pettie. vice-chairman of the Association, first made it a 
point to see the film himself, and at once came to the 
conclusion that it was anything but immoral. Other 
officials were communicated with and were strongly of 
the opinion that the Association should defend the case, 
on the ground that it was the first time an exhibitor had 
ever been prosecuted for such an offense and that a con- 
viction would create a most dangerous precedent. 

Dr. Judd, chairman of the Association, agreed with 
the others that, for the reasons given, it was highly 
desirable for the Association to support its member, 
although all the officials realized they were taking a 
weighty step, since in the event of the magistrate deciding 
to convict, it might be said by the Association's critics 
that it had extended its sympathy to the showing of an 
immoral film. 

However, as all were emphatic in their opinion as 
to the morality of the film, and the Association is noted 
for being most strongly opposed to the exhibition of a 
film to which even the slightest suspicion of impropriety 
could attach, the officials were inclined to believe that 
the Association should also be among the first to condemn 
an attempt to attach a stigma to a film which is free from 
objection. 

Mr. G. G. Plant prosecuted on behalf of the police, 
and Mr. Wells, a celebrated barrister, of Barnard Castle, 
appeared for the defendant and represented the Exhib- 
itors' Association. After the magistrates had been shown 
the film, the taking of evidence was begun and the de- 
fense was able to conclusively show that the film was 
based on a novel and play of the same name, to neither of 
which had objection been made by the police when the 
novel was displayed on book counters or the play acted 
on stages throughout Great Britain. It was further 
shown that there was nothing immoral about the film 
version of the play and that there was no reasonable 



156 



MOTOGRAPHY 



Vol. X, No. 5 



ground for the belief that the film would tend to promote 
indecency in communities in which it was exhibited. 

At the conclusion of the testimony the seven magis- 
trates retired for only five minutes and then returned 
with the decision that no objection could be taken to the 
film and that, therefore, they would dismiss the case. 
Owing to the extraordinary interest aroused not only in 
the cities adjacent to Darlington, but also throughout the 
entire country, the decision was received with much joy 
and manufacturers, exchangemen and the trade press 
united in congratulating both the proprietor of the Al- 
hambra Picture Palace and the Cinematograph Exhibit- 
ors' Association on the happy outcome of the case. 

Exhibitors throughout the entire kingdom were 
made to feel strongly the desirability of joining the Asso- 
ciation which appears to take such a fatherly interest 
in the welfare of its members, and it is easy to foresee 
that the membership will shortly be greatly increased. 

Here we find a most striking example of the benefits 
of a strong organization on the part of the exhibitors, 
and one which undoubtedly will add much to the en- 
thusiasm of those interested in seeing the International 
Motion Picture Association or the Motion Picture Ex- 
hibitors' League of America grow and develop. 

The Darlington case is convincing proof that the 
exhibitors of a country can wield an immense power, if 
only they will get together and work harmoniously for 
the common good. The tremendous force which such 
an organization possesses seems incalculable, for there 
are so many new problems coming up daily which the 
exhibitor must solve, that a careful enumeration of those 
questions which even now await decision would neces- 
sarily omit the new problems which tomorrow will bring, 
and which probably will be as important as those 01 
those of today. 

Censorship, limited length of program, feature films, 
ventilation, economical light and power, and constant 
vigilance to prevent adverse or inimical legislation are 
only a few of the matters now before the exhibitors, so 
it is to be hoped the promoters of both the International 
Association and the Exhibitors' League will build wisely 
and well, in order that these respective organizations may 
be able to capably handle the still more important prob- 
lems of the future when the time comes to do so. 



THE SILENCE IS BROKEN. 

IN all organized lines of industry, it has become a settled 
fact that the men responsible for that industry, during 
the time of its formation, are all too busy to talk. The 
shrewd ones won't talk. Rut after a business has a foun- 
dation these pioneers find that the exchange of ideas is 
a mighty valuable asset and they are willing to let the 
public in on the big thoughts; big to the public, but 
merely evolutions to the master brain which has fol- 
lowed them from their inception. 

George Kleine, one of the men most instru- 
mental in the founding of the motion picture industry 
and making it a national amusement, one of the men 
whose genius has fought, barehanded, against the villifi- 
cation of the press and its derogation of (he moving 
picture as an amusement, recently allowed the public a 
glimpse of the secrets and plans of a master mind. On 

another page <>f Motographv we quote from a state- 
ment made by Mr. Kleine to a representative of the 
press on the subject of the future of the motion picture 
and its gradual evolution toward a complete photodrama 
of ordinary theatrical production length. It will be 
clearly noted that the motion picture is now to be re- 
garded both as an amusement and as an educational 
factor. 



The breadth of Mr. Kleine's education, his associa- 
tion with the motion picture from its very inception, his 
labors in formulating a national amusement with his 
bare hands, his knowledge of the present day picture and 
his ability to look into the future enables him to speak 
as an authority that is unquestioned. 

We have in preparation also articles by W. N. Selig 
and George K. Spoor. What these men have to say will 
be remembered for a long time, and Motography takes 
great pleasure in announcing that these statements will 
appear in forthcoming issues. 

PICTURES POPULAR IN SPAIN. 
Motion pictures have become exceeding popular 
throughout the Seville district in Spain, and those shown 
have often a more than passing merit. Until recently the 
films of Pathe Freres, Paris, were used almost ex- 
clusively. Now, however, some Scandinavian and 
American films arc also shown. American films unfor- 
tunately too often depict "wild-west" scenes, which are 
not understood and appreciated as thoroughly as 
European films, which frequently give entire plays, 
lasting an hour or more, or picture stories of such works 
as Les Miserables. Especially in summer are motion 
pictures popular, when one may watch them all evening 
in open-air restaurants for the price of a cup of coffee 
or a glass of wine. In winter the prices of admission to 
the motion-picture halls or theaters range from 4 to 14 
cents. The picture programs are changed every evening 
through an arrangement whereby a film, rented for three 
or four days, is passed around to the various motion- 
picture houses. The French firm, Pathe Freres, has a 
Spanish agency. 



PICTURE SLIOIFS OF MEXICO 
Consul Wilbert L. Bonney, of San Luis Potosi, 
Mexico, says that the motion picture business there, es- 
tablished eight years ago, has grown both in popularity 
and quality. Prior thereto the drama was for the 
wealthier classes only. The demand for pictures of 
artistic merit is recent. For example, Christmas week 
"Les Miserables" films were shown, while the "Inferno" 
and "Aida" were recently exhibited. 

It is interesting to note the effect of these films 
upon the great number of people, who get their first 
introduction to fiction, drama, and art in this graphic 
manner. It is often difficult otherwise to know what 
the people think or what their preferences are. By 
simply throwing the picture of a prominent individual 
on the curtain, the public preference is immediately and 
unmistakably demonstrated. Audiences here are de- 
monstrative. Until the motion pictures appeared it is 
probable that 80 per cent of the people had never wit- 
nessed a dramatic performance of any character. 

The future of the business here depends upon the 
development of the film business itself. Any improve- 
ment will be quickly taken up. The people are not 
much interested in views of their own country; even the 
battle of Bachimba did not draw well here. They prefer 
French work and scenes. Bull-fight pictures <.\o not take 
well. In fact, the motion-picture entertainments are 
encroaching upon the bull fights in public interest, but 
the recent failure of the latter may he due to other 
causes. 



Texas stereopticon views and moving pictures will 
have a place in (he instruction of New York school chil- 
dren, according to plans of 1\. C. Raby of the Depar* 
mem of Education of that state. 



September 6, 1913 



MOTOGRAPHY 



157 




Scene from "Around Battle Tree," Selig release of Sept. 10. 

Supernumeraries Well Handled 

Shipboard Scenes Convincing 



u^r 



'HE WHEELS OF FATE," the two-reel release 
of the Selig Polyscope Company for September 
8, is well photographed, capably acted and con- 
tains more than usual amount of thrills and excitement. 

Both the interiors in the home of Phillip Wynn and 
the wireless room aboard ship are well staged and con- 
vincing, while the beautiful exteriors at the country home 
of Wynn and the scenes along the bank of the stream, on 
which Wynn goes fishing, are gems of photographic art. 
The crowd of supernumeries, in the panic scenes aboard 
the transatlantic liner, are splendidly handled and one 
has the impression of witnessing a real struggle for seats 
in the lifeboats. 

According to the story Phillip Wynn is a rising 
young author, whose achievements are a source of aston- 
ishment and gratification to his friends, but finds little 
encouragement in the person of a careless, flighty and 
inappreciative wife. He comes to her with enthusiasm 
over his new triumphs; she tosses his new book aside 
and goes on with her primping with a bored air. He re- 
treats to the solitude of his study, and trying to make 
joy out of bitterness, begins a new work, "The Inspira- 
tion Girl." His wife comes in, makes a "touch" for 
bridge bets. He attempts to read a part of his new manu- 
script but she is too busy to hear it and rushes away to 



keep her social engagements. Cards are not the only 
weakness of this frivolous woman, for she has a per- 
sistent lover, Lawler, who is trying to induce her to 
elope. 

Repulsed and discouraged by her attitude and her 
cynicism, the poor husband retreats to a secluded cot- 
tage in the woods. In his tours thereabout for inspira- 
tion, he meets with a young girl whose ideals have a kin- 
ship with his own and he immediately nominates her as 
"The Inspiration Girl." 

Lawler, who is going fishing with a friend, has be- 
come so thoroughly saturated with "snake medicine" that 
he is in a very surly and savage mood. The friend de- 
serts him and goes on to Wynn's cottage, boldly entering 
the house and helping himself to a drink, as the master 
is elsewhere at the time. 

Lawler follows him and keeps up the quarrel he has 
begun. In a fit of passion, he picks up a revolver he 
finds handy and kills his friend. The shock of this sobers 
him to a degree and sharpens his powers of natural devil- 
try. He concludes to fasten the crime upon the owner 
of the cottage. Wynn returns to the cottage and Lawler, 
who has found the game warden, takes that functionary 
back to the cottage, telling him that Wynn has commit- 
ted a murder. They find him in a compromising situation 



158 



MOTOGRAPHY 



Vol. X, No. 5 



and Lawler declares that Wynn murdered his friend in 
cold blood. 

Having placed Wynn behind the bars, Lawler calls 
upon Mrs. Wynn and tells her how her husband killed 
his friend. He had already persuaded her to begin a 



Mrs. Browne Rose Evans 

Nell's Cousin Lize Margareth Prussing 

Bradley, Lawler's Friend Palmer Bowman 

Governor of the State Frank Weed 




Jack Nelson and Alma Russel in a scene from "The Jeweled Slippers," a 
Selig two-reel drama. 

suit for divorce, so the charge of murder and her own 
bill filed, appear in the same issue of the papers, showing 
the double troubles of the family. 

Nell Browne, "The Inspiration Girl," is deeply 
grieved over the terrible predicament of her friend, calls 
at the prison, and asserts her own belief in his innocence 
and her willingness to do everything in her power to 
secure justice for him. Largely on the evidence of Law- 
ler, the author is condemned to death in the electric 
chair. Having accomplished this much toward the anni- 
hilation of the genius, Lawler perfects his work by set- 
ting sail with the now divorced wife, for Europe. 

In mid-ocean, the ship on which the guilty pair are 
voyaging, springs a leak and founders. As she is about 
to disappear the conscience-stricken Lawler tells the cap- 
tain as a last act of humanity that he must confess, so 
the wireless, while calling for aid, flings out his tale to 
the world. It reaches the cars of the prison authorities 
and the governor commutes his sentence just in time. 

The cast follows : 

Mr. Phillip Wynn Thomas Carrigan 

Mrs. Phillip Wynn Adrienne Krocll 

Charles Lawler Clifford Bruce 

Nell Browne Alma Russell 

Mr. Browne Wm. Walcntt 



Night Photography 

An extraordinary achievement in night photography 
was accomplished last week by Director Huntley and 
Operator Wycoff, of the Selig Polyscope Company, in 
California, which promises to make the silhouetted sky- 
line of Los Angeles famous the world over. The camera 
man planted his instrument on top of Broadway Hill, 
over the tunnel, and after the lamps of nightfall had 
begun to twinkle, he worked for many hours and was 
finally rewarded by securing a perfect film of the "City 
of the Angels," after dark. The lighting system of Los 
Angeles is said to be in detail and in decoration, the most 
perfect of any city in this country, and the effect secured 
with pencils of light and the facades of buildings lining 
the streets cut clearly against the sky is beautiful beyond 
compare, giving an effect like fairyland. 



Film Business Uses Many Automobiles 

"Is this the place where the Los Angeles automobile 
show is held?" queried a tourist one morning recently as 
he peered through the great iron gates of the Selig studio 
on Alessandro street. The stranger could hardly be 
blamed for his mistake, for his range of vision was en- 
tirely filled by ten big new autos lined up abreast in the 
studio yard like a battery of field artillery, all waiting to 
speed out to various locations with Selig players. The 
press of production at the big California plant has 
reached the point where this number of machines is nec- 
essary to afford ever-ready rapid transportation to the 
various directors and their players. Thomas S. Nash, 
general manager of the Pacific Coast branch of the Selig 
Company, has just added a neat, speedy gray runabout 
of his own to this motor car parade, which serves as a 
sort of nimble charger on which the commander-in- 
chief rides forth at the head of his army when his per- 
sonal presence is needed on the battlefield. 



Gene Gauntier Goes Abroad 

Gene Gauntier, accompanied by Jack J. Clark, Sid- 
ney Olcott and Allen Farnham, have gone to Europe. 
Their first stop will be at London ; from there the party 
will journey to the Lakes of Killarney, and later their 
tour may take them to Scotland and other countries 
abroad. The pictures made by Miss Gauntier and her 
associates will be released exclusively through the feature 
program controlled by Warner's Features, Inc. Gene 
Gauntier, of course, continues as the star of the organ- 
ization now gone abroad, with Jack J. Clark as her lead- 
ing man and Sidney Olcott as managing director. Asso- 
ciated with them also is Allen Farnham. the clever 
scenic artist and stage manager, who was responsible for 
all the Irish and Egyptian. Scotch and English stage 
settings which were always a feature of the Kalem's in- 
ternational productions, and that Bibical masterpiece 
"From the Manger to the Cross." Miss Gauntier and 
her players have been working together for the past 
four years. During that time they have made three trips 
to Ireland and have traveled half way around the globe 
to secure the natural atmosphere for the picture they 
have produced with such success. 

The first convention of Florida State branch of the 
M. P. E. L. of A. meets in Tampa, Aug. 31. 



September 6, 1913 



MOTOGRAPHY 



159 



Sans Grease Paint and Wig 

By Mabel Condon 



W 1 



William Russell 



L L I A M 

ay y RUSSELL 
wanted a 
plug hat. To every- 
body who invaded the 
first floor corridor of 
the Thanhouser studio 
he announced that he 
must have a plug hat ; 
he put all his energy 
in inducing people to 
search for a plug hat 
for him. In fact, he 
would have a plug hat 
or die. Then Bert Ad- 
ler appeared upon the 
plugless scene and 
suggested that now 
was the opportune 
time to lead William 
into a dressing-room 
and let him tell me 
the dark history of 
his life. 

"What! Before he gets the plug hat?" I gasped. Be- 
ing "company," I made the gasp a timid one, and Mr. 
Adler rose to the occasion, with three steps in Mr. Rus- 
sell's direction, and cajoled, "Come now, Bill, forget 
it." 

"But, Great Scott! Bert, I'm going to be married in 
half an hour and I can't be married without a plug hat, 
can I?" 

Mr. Adler was forced to admit that such was an im- 
possibility. Who ever heard of anybody's being married 
minus the decoration of a plug hat? Not Mr. Russell, 
certainly, and if Mr. Adler had ever heard of such an 
atrocious happening, he wisely kept the shameful in- 
formation to himself, and suavely agreed with Mr. Rus- 
sell, (who is bigger than anybody else at the studio), that 
without the desired hat, there could be no marriage cere- 
mony, and came forth with the offer to up-root the 
studio, if necessary, in the procuring of a plug hat. 
Meanwhile, would Mr. Russell step into the first dress- 
ing-room on the left-hand side of the corridor and make 
of himself a press story? Though Mr. Russell would 
fain have superintended the hat search, he stepped, and 
was most gallant about the stepping. 

It was a tiny dressing-room with a chair, a table and 
a wide shelf, Mr. Russell proffered the chair with a "You 
■ — please," and I returned with true Chicago spirit, "No 
indeed — you!" I had already decided I'd sit on the ta- 
ble. 

"But I insist," protested Mr. Russell, with an invit- 
ing hand on the chair back. 

"So do I," I answered, as with a little jump I seated 
myself on the table, which looked as though it _ would 
hold me, but by no amount of persuasion could it have 
been induced to bear up under the weight of Mr. Rus- 
sell. Then Mr. Russell took possession of the chair and 
the room was full. 

"I'm playing a Hoakum comedy, today — nice by the 
way of relaxation while preparing for a three reeler," 
said Mr. Russell, removing his wide-brimmed straw hat 



and allowing the tails of his linen duster to trail the 
floor on either side of the chair. "Dreadfully hot — don't 
you think?" He tossed his gray wig into the straw hat 
on the window-sill, leaving the Russell locks standing up, 
black and thick. 

"I have to get married in this rig — and a plug hat." 
With the unfortunate mention of this missing quan- 
tity, a frown brought the Russell brows together, and 
I hurried to the rescue with the remark that I had visited 
the campus of his alma mater — Fordham college — the 
preceding afternoon, and how long was it since Mr. Rus- 
sell had graduated from there? 

"It was in 1904," he informed. "I was always strong 
for athletics and entered into the sports at the college 
with more seriousness than I put into my studies." 

"You made the college team in '04, didn't you?" I 
asked. He said "Yes," and stopped there. 

"And won the 220-yard swimming meet?" Mr. Rus- 
sell's deep-set brown eyes smiled as he nodded "Yes." 

"And what did you like the best?" 

"Boxing. After Fordham, I went to McFadden's 
Institute and graduated from there. Then I taught box- 
ing for a while as a diversion at an athletic club, then 
went on the stage. 

"I've had some opportunity for athletic work in pic- 
tures but not as much as I'd like. When Charlie Horan 
was here — do you know Charlie? He's with the Ryno 
people, now." 

"No, but I'm going out to the Ryno studio tomor- 
row." 

"Well, don't fail to meet Charlie; he's the finest fel- 
low in the world. We went to college together, were 
chums there, and we've always kept up our friendship. 
Even now, while I'm keeping bachelor camp in the 
woods, here outside of New Rochelle, I go into New York 
a couple of evenings a week to meet Charlie; got a din- 
ner date, there, with him to-night. 

"He used to be here, and we had several boxing 
matches; we're built just about alike and used to have 
great fun together. One of the directors promised to 
let us do a boxing picture but Charlie left before we got 
to it. A dandy fellow, Charlie ; everybody likes him." 

When Mr. Russell had thought about his brotherly 
love for Charlie for a full minute in silence, he volun- 
teered the information that he had begun picture work 
with the Biograph company, had remained with them 
for nine months, and then enlisted with the Thanhouser 
people and would be with them two years in October. 

"Why — " he began, but I never knew what he was 
going to say, as a medley of voices came from the hall 
just then, and we heard somebody say — "A hat? Sure, 
I'll give him one — Billy wears the same size I do." In a 
few minutes the voice returned along the corridor with 
the glad tidings, "Here you are !" 

There was a chorus of laughs and we recognized 
Mr. Adler's voice setting someone aright as to the kind 
of hat wanted being "a plug not a derby," and the voice, 
bereft of its note of glad helpfulness, returned "Why 
didn't you say so?" as the owner bore off the scorned 
derby. 

"We are somewhat inconvenienced for property 
stuff, at times, since our studio burned," Mr. Russell ex- 
plained, and added hopefully, "They'll get a plug, some- 



160 



MOTOGRAPHY 



Vol. X, No. 5 



where, though." I hoped so, and Mr. Russell went on 
to tell of the successful winter the company he was 
picked for, had had in the south. There was great op- 
portunity for horse-back riding and other out-of-door 
work and the company was a contented and happy one. 

"And we did work," concluded Mr. Russell, as a 
costumed company on the out-of-doors stage just with- 
out the window, announced, by dispersing, that it was 
noon-time, and I remembered that Jean Darnell was go- 
ing to take me to luncheon "up the hill." 

"Don't forget to ask for Charlie Horan, tomorrow," 
reminded good-looking Mr. Russell. "I won't," I re- 
turned and joined Miss Darnell who was waiting in the 
corridor while Mr. Russell set off to find Mr. Adler and 
the plug hat. 



The Grecian Vase 

The Edison film, "The Grecian Vase," is one of the 
most thoroughly artistic photoplays that has been offered 
the public. The exquisite exteriors were taken upon the 




Scene from Edison's "The Grecian Vase." 

magnificent estate of a wealthy New Yorker and their 
purely Grecian atmosphere lends an irresistible enchant- 
ment to the fantasy. Several of Gertrude Hoffman's 
celebrated dancers were especially engaged to take part 
in these garden scenes, their beauty and grace still farther 
enhancing the effectiveness of the picture. 

The story is that of a sculptor who falls in love with 
a beautiful woman on a Grecian vase. The vase is shat- 
tered but the woman's head is preserved and he dreams 
that the woman has come to life, transporting him to 



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the days when the nymphs danced in exquisite fields and 
gardens to the intoxicating pipes of Pan. Through these 
fields they wander together, the artist wooing the woman 
who seems as obdurate as she did upon the vase — but 
far more enchanting. At last she seems upon the point 
of yielding when the dream fades and the scluptor awak- 
ens. His disappointment, however, is made less keen 
by the receipt of a note stating that one of his statues 
has proven to be very valuable. Overjoyed at the news 
and still under the influence of his dream, he carves a 
marvelous life-size statue of the woman of his dreams, 
which brings him fame and wealth. 



'Wells Contracts for Kinemacolor 

The Kinemacolor Company has closed a contract 
with Jake Wells, the Southern theatrical magnate, for the 
permanent installation of Kinemacolor in the twenty 
theaters of his circuit. Mr. Wells plans to handle the 
Kinemacolor productions for the entire South. Atlanta, 
Birmingham; Savannah, Norfolk, Richmond and other 
cities on the Wells circuit will begin the new form of 
entertainment, consisting of a Kinemacolor headliner, 
followed by an hour of black-and-white feature and mis- 
cellaneous subjects. Later on regular road shows will 
play subsidiary circuits of the smaller Southern cities. 
Mr. Wells has found the big feature picture shows the 
most profitable form of entertainment in his popular 
priced theaters, and with the Kinemacolor pictures he 
expects to attract the best class of patrons. 



Seligf's Army Operator 

Major Thomas J. Dixon, chaplain of the Sixth Field 
Artillery, who studied the moving picture machine and 
became an accomplished operator in the Selig Polyscope 
plant in Chicago, recently applied his knowledge with 
great success in catching some exceptionally interesting 
operations in the hunting-field in which the cavalry at 
Ft. Riley were engaged. Chaplain Dixon has also made 
some fine films of artillery going into action. These 
subjects will be particularly valuable as they have the 
real atmosphere environing our "soldier boys" and are 
not in any sense posed or artificial. 



"Sapho" and "Moths" for Mutual 

It develops that "Sapho," which Florence Roberts 
has been working on at the Majestic Los Angeles studio, 
and "Moths," a Maude Fealy film made at the Thanhouser 
plant, at New Rochelle, are special enterprises of the 
Mutual Film Corporation. In the case of each feature 
the particular producing organization merely acted for 
the Mutual in making the film. "Sapho" is in five reels 
and "Moths" in four. Chief in Miss Roberts' support is 
Shelly Hull, well known to Rroadway, and chief in Miss 
Fealy's is William Russell, of Thanhouser note. 



Bad in Hi Da; When the Nymphs Danced to Pan's Piping, 



J. A. C. Plant Busy 

A picture directed by Frank E. Woods, entitled 
"The Strong and the \\ eak" has just been completed at 
the |. A. Crosby studios in Los Angeles. Natalie de 
Lonton took the female lead, Richard Willis played the 
father, Carl Von Schiller the son, and Louis W. Chainlet 
enacted the lead. The J. A. C. company provided some 
beautiful settings and the photography is said to be ex- 
cellent . Resides handling all its own brand of films the 
|. A. C. plant is taking care of considerable outside work 
in its laboratories. 



September 6. 1913 



MOTOGRAPHY 



161 



On the Outside Looking In 

By the Goat Man 




I 



T is announced 
officially that 
there will be a 
convention of the 
Illinois motion pic- 
ture exhibitors at 
Peoria in a little 
while. All exhibit- 
ors are invited to at- 
tend. The purpose 
of the meeting will 
be to put Illinois 
back on the League 
map and in that par- 
ticular it will be a 
success. There will 
be enough exhibitor 
representation to fill 
the offices. It proved 
so in New York at 
Syracuse, and Illi- 
nois can be depend- 
ed upon to do as 
much at Peoria. But 
that is all it will 
amount to. This 
isn't said in 
prophesy. It is 
prognostication. Mr. 
Neff is determined 
to have his full 
quota of vice-presidents and a complete paper organi- 
zation. His letterheads have been giving him more or 
less trouble of late. The thing that concerns me most 
is the utter helplessness of Mr. Neff to do anything 
practicable with those states which do not agree with 
him. Until the passing of Mr. Neff 
as the dominant head of the League, 
Minnesota. Wisconsin, Illinois, Indi- 
ana, Pennsylvania and New York, to 
say nothing of other states, will re- 
frain from active participation with 
that organization. This is sad but 
true. It is something that Mr. Neff 
realizes full well, but he is obsessed 
with the notion that the League is his 
special inheritance and he proposes to 
prove it. Had Mr. Neff withdrawn 
his own name from the late conven- 
tion after he had been prevailed upon 
to hear Mr. Levy's speech to the end. 
the delegates might have chosen from 
their numbers an acceptable candi- 
date and the m. p. league would have 
been freed from the present entangle- 
ment. I am sure there was no other 
course to pursue. For the same rea- 
son. I am equally sure that there will 
be little difficulty in bringing the fac- 
tions together under the leadership of 
anybody w r ho doesn't sign himself 
M. A. Neff. This isn't meant in dis- 
respect to that gentleman. Exhibitors 
all over the country appreciate the 




work he has done in 
their behalf, but the 
most of the mem- 
bership had decided 
prior to July first, 
this year, that Mr. 
Neff's services as 
president were not 

longer required. 
% ^ % 

Now we have 
the. farce of organ- 
izing those states al- 
ready satisfied with 
their own organiza- 
tion. Mr. Neff, him- 
self enthusiastic to 
the limit on all mat- 
ters which he re- 
gards as achieve- 
ment, hasn't made 
much of a demon- 
stration over the 
Syracuse episode. 
The attempt at 
Peoria will be equal- 
ly disappointing. 
Whatever follows 
will confirm that 
there is no room for 
a competing exhib- 
itors' organization in Illinois. The reason is obvious. 
One exhibitor's interest doesn't dffer from another ex- 
hibitor's interest. Illinois has its exhibitors' organization. 
In politics we can have all sorts of beliefs and a place to 
air our particular brand of thought, but the film business 
isn't oolitics. 



I have received a very long com- 
munication from the League's presi- 
dent — an open letter which defines his 
position relating to C. R. Baird & 
Company's auxiliary concern, the 
American Motion Picture Supply 
League. In this letter Mr. Neff states 
with considerable zest that the League 
isn't in the supply business, but there 
is so much of the letter that is direct 
advertising for C. R. Baird & Com- 
that we refrain from quoting 




Isadore Bernstein of Universal City 
emulates "Alkali" Ike, but substi- 
tutes a different animal. 



pany 



that concern so 



league members. 



Francis X. Bushman 
in Essanay's 



and Beverly Bayne 
"Sunlight." 



some of the prices 
cheerfully offers to 
There isn't much use in our pointing 
out that Baird parts do not meet with 
the approval of supply dealers 
throughout the country. I know of at 
least one projecting machine manu- 
facturer who refuses to repair its own 
product if a "foreign" part is discov- 
ered, which suggests to my feeble 
mind that the machine maker isn't in 
hearty sympathy with the "foreign 
parts" supplier. If it was a commend- 
able thing for the League to fall for 



162 



MOTOGRAPHY 



Vol. X, No. 5 



the Baird allurement of forty per cent off, I have never 
seen the wisdom of it. The supply dealer has as much 
right to a living profit as has the exchangeman. It is a 
legitimate part of the scheme of service distribution. If 
the League shall endorse a New York supply dealer it 




Vivian Prescott and the Reliance players during the production of "Peg 
of the Polly P." 

would be well to include a New York film renter and 
possibly a continental film manufacturer. I see little 
difference. The exhibitors' supplies are usually as con- 
venient to him as are his films. And a machine part is 
usually something that is wanted right off, in a hurry. 
Through the dealer the service distribution scheme favors 
the exhibitor. Forty per cent off a two dollar part will 
hardly pay the telegraph toll and the express charge from 
here to anywhere. Then, too, it might mean the miss- 
ing of your best night's receipts — a calamity that would 
more than offset the dealer's profit for six months or 
a year. 

* * * 

Mr. Neff in his "open letter" says that he stands for 
the bona fide motion picture exhibitors first, last and all 



M 




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r.y pi 









["he i G ' Playei who sailed For Ireland on Auk. 14. Miss Gaun 

tier i i' r, with roses; Sidney Olcott, director, to right, and Jack 

J. Clark, leading man, to right in li^ht suit. 

the time, because he comes first and rightly so, as he is 
the first to secure the nickel to distribute ou1 to the great 
army of those in the oilier branches of the business. In 
which Mr. Neff is nol unlike all the other branches of 
the business. We are all for the exhibitor, all the time — 



all of us who are not exhibitors. What the League shall 
first accomplish to be highly successful will be to have 
the bona fide exhibitors stand for bona fide exhibitors. If 
there is one evil greater than another it is the undesirable 
exhibitor- — the guy around the corner who violates all the 
decent rules of the game. He's bona fide, all right, if 
you count him as a nickel-getter. 

We are a cheerfully crazy people. We itch for 
mystery. We crave excitement. There is no mystery 
in exhibitors' organizations — no excitement promised for 
Peoria. 

* * * 

In the days to come, when the ill-feeling, justified or 
unjustified, will have been forgotten, we shall be grateful 
for Mr. Neff's efforts in behalf of exhibitors' organiza- 
tion. 

* * * 

The League was meant to be a great institution. We 
look for the day when it will be a truly great organiza- 
tion and when its president announces for weeks in 
advance that he will confer with the powers that be there 
will be much pomp and promptness on the part of the 
aforesaid powers to keep the conference date. 




Wray Physioc, manager of productions of the Herald Film Co., and Dave 

Gobbett, camera man, taking a scene for "Bottled Love," the 

first comedy release of the new concern. 



We have Fred Gunning with us this time — right up 
there at the start- — upper left hand column, right hand 
page, next to pure, uncensored stuff — good photography 
— clear as a bell : fine setting ; clear-eyed, clean shaven, 
well-groomed Fred — the Me-man of Eclair — dashes and 
all. It is good to have Gunning around — gives us assur- 
ance, confidence, because bad men are gunning for me 
in a terribly dirty city by a dirtier river. I'm almost 
scart! But why didn't I get some dope to go along with 
this picture? Just like a dopester to forget to send the 
dope ! I only know that Fred C. Gunning can put the 
punch in the end of his pencil and smear it around to 
beat the band, week after week and month after month. 
He never uses anything stronger for punctuation than a 
little round period. He's the dash writer for Joe 
Brandt's brand and the dash writer for the Eclair bul- 
letin — as readable as any film maker will ever achieve 
with his house organ. Gunning is a speed boy and I'm 
thinking we'll have him with us for a good long time. 
Look him over. There's nothing affected in his pose or 

his prose. 

* * * 

Lots of men that we know of have got more sense 
and eon do better work when they are half-pickled than 



September 6, 1913 



MOTOGRAPHY 



163 




The Eclair "Happy Family" in the woods near the Ft. Lee stu dio. From left to right the players are Clara Horton, Helen Marten, 
Millie Bright, Julia Stuart, Barbara Tennant, Robert Frazer, Alec B. Francis, Fred C. Truesdell, and Will Sheerer. The face in the 
upper corner is that of J. W. Johnston. 



quite a large percentage of the strictly sober and teetotaler 
crowd. — The Billboard. 

* * * 

To whom it may concern, especially Sam Spedon, 
J. A. McKinney, Harry Rush Raver, Agnes Eagan and 
C. Lang Cobb. Bert Adler, Fred Gunning, Bill Kalem 
Wright, Ben Schulberg, Harold Zachary Levine, Hector 
Streyckmans, Kurt Waldemar Linn, John B. Clymer, 
Eddie Kaufman, E. J. Hudson, Lloyd Robinson, the Mc- 
Chesneys— all of them, Ed Barry, Joe Brandt and Guy 
Universal Stevenson, S. B. Johnson, Bert Ennis, Hopp 
Hadley, Ben Goetz, George Balsdon, A. J. Lang, H. C. 
Hoagland, J. E. Robin, H. D. Ashton, Harold Rosenthal 
and Willard Holcomb: After September fifteenth, year 
of nineteen thirteen, you will be able to reach Motog- 
raphy's New York office and pour your troubles through 
a transmitter. Keep your eyes peeled for small bills and 
further announcement details. 

* * * 

For the especial benefit of Charles E. Bowles I print 
this unidentified syncopated sonata, the while I shed tears 
of real joy: "The profession of the writer and the pub- 
lisher are the noblest and cleanest of them all. The 
writer gets no pay for his mistakes, as do the lawyer, 
the doctor, and the minister. He must win every case; 
make good at every step. So must a publisher. Theirs 
is the acid test. Theirs is the very cleanest of all money 
that is made, their reward is the very essence of success. 
In that profession one can be sincere and can do the 
things in which one believes. In that profession — on 
either side of the inky trade — perhaps some day — if the 
long road has turned — one even may be useful." 



Did you ever wander in the garden of the gods, by 
the silver streams that skirt the sun-kissed mountains of 
gold ? I know it is late, Terese, but this isn't a dream — 
besides the alarm clock is set for six gee-ex. And when 
it rings I'll be half dressed, with my grips packed and my 
rifle and fish kit all ready for an outing in the woods. 
Yowl, you poor unfortunates that have had yours ! 

* * * 

It will be a one-reel show but it will cost more than 
a nickel. I'll live by the rules laid down by the League 
and the Association, all right, and include the penalties. 

* * * 

Down in Cincinnati, Judge Gorman relieved himself 
of a few pertinent remarks on the constitutionality of an 
ordinance which provides for the licensing of m. p. 
operators. This particular ordinance contemplates the 
collection of one simoleon, to be paid by the operator, 
"after which he shall be examined and show to the 
satisfaction of the Board of Examiners that he is fully 
qualified and competent to operate such machine." Upon 
this the Court says : 

"It will be noticed that under this ordinance providing for 
a Board of Examiners of four that these examiners are made the 
absolute autocrats, with unlimited discretion as to whom they 
shall issue a certificate, and who they shall say is competent. 
True, the ordinance provides that the applicant shall be ex- 
amined and show to the satisfaction of said board that he' is 
fully qualified and competent to operate a moving picture ma- 
chine^ but there is no standard of qualification fixed; there is no- 
provision for an examination upon any subject or subject matter. 

"Under this ordinance the examination might extend only 
to the color of the applicant's hair, the appearance of his eyes, 
or any other physical qualities which he might possess. The ex- 
aminers might, if they desired, under this ordinance, examine 
him on conic sections or integral or differential calculus. They 



164 



MOTOGRAPHY 



Vol. X, No. 5 



might test his knowledge of the binomial theorem or inquire 
into his knowledge and learning of the Greek language and the 
plays of Sophocles. 

"There is no rule prescribed to determine the qualifications 
of the applicant to operate a moving picture machine, except 
that he be examined and show to the satisfaction of said board 
that he is fully qualified and competent to operate such machine. 




Scene from Selig's "The Fifth String," two reel feature written 
by John Phillip Sousa. 

"TIk- council might have prescribed some subjects upon 
which the Board of Examiners should examine an applicant for 
a license to operate a moving picture machine, but they failed 
to do so; and it would appear to the Court that the omission of 
some standard of qualification in the ordinance makes it fatally 
defective." 

* * * 

A fur all, I prefer to be the Goatman. 



Warner's Notes 

Exhibitors and moving picture fans will be glad to 
know that one of the early releases on the Warner 
program will be "Back to Life," a drama of society, the 
equal in every way of "Her Supreme Sacrifice," whose 
emotionalism and superior photography demonstrated 
iht fad thai the Pyramid Film Co. is peculiarly fitted 
to produce three-reel features with a "punch." An- 
other early release will be "A Florentine Tragedy," after 
the play by < >scar Wilde. The settings for this emotional 
drama were secured in California, and the acting of the 
principals, Constance Crawley and Arthur Maude, is 
of the very highest type, 

Still another early release will be "In the Power of 
a Hypnotist," introducing the international favorites, 
Gene Gauntier and Jack J. Clark. This photoplay, writ- 
ten by Miss Gauntier, is absolutely unique in the history 
of moving pictures. Sidney Olcotl plays the part of 



Gondorza, the traveling hypnotist, and his interpretation 
of the role is most convincing. A huge snake plays an 
important part in this unusual feature. His snakeship 
coils about the neck and arms of Miss Gauntier in a way 
that is truly hair-raising. 



Film Studio for Seattle 

For the purpose of taking moving picture films to 
be placed on the American and European markets, Bev- 
erly B. Dobbs, the man who obtained the first moving 
pictures of wild life in Alaska, "Atop of the World in 
Motion," which registered a long run at Webers Theater, 
New York, last season, has established a studio and 
laboratory on the shores of Lake Washington, Seattle. 
He has obtained the backing of Eastern capital and 
Joseph Conoly, president of the United States Film Com- 
pany, will be general manager of the company. The plant 
will be built by Leo Zoeller, who designed the laboratory 
used by the Imp and Crystal Moving Picture Companies. 
With a group of scenario writers, actors, stage man- 
agers, and photographic experts already engaged, he 
expects to have the plant in working order within two 
months. 



Kinemacolor for Feiber & Shea 

Messrs. Feiber & Shea, whose independent vaude- 
ville circuit forms an important connecting link between 
the East and the West, have arranged to present the 
Kinemacolor pictures as a permanent feature in all their 
houses. The first installations were made on August 
25 at the Bayonne Opera House and the Bijou Theater, 
Orange, N. J. By the middle of September Kinemacolor 
will be showing at the Opera House. New Brunswick ; the 
Park Theater, Youngstown, O. ; the Colonial Theater. 
Akron, O. ; the Majestic Theater, Erie, Pa., the Mozart, 
Elmira, N. Y., and the Tefferson Theater. Auburn, N. Y. 



American to Produce Fairy Story 

Miss Vivian Rich, the versatile little leading woman 
of the "Flying A," will soon appear in a fairy story 
especially written to please the little folks. There will 
be fairies and witches. Kings and Princes and the en- 
chantment that is interesting to the little readers of 
"Grim's." "I have always wanted to do something of 
this kind" said Miss Rich in discussing the story. "I 
think we ought to do something to please the little 
folks." It is possible that a series of them will be made. 



Bill Knew He Was "Dead" 

"Sheerer! Sheerer! Your kilt!" 

"Well, I know it," yelled Bill. 

"No, no! I mean your kilt.' - yelled the director. And 
finally, after some exchange of words, the big Eclair 
character man understood that the director was not 
referring to the fact that he was supposed to be dead. 
!)tit to the way he had his "kilts" arranged after he had 
fallen "dead." 



Stork Visits Hite Home 

A daughter was born at \iw Rochelle, Monday, 
August 17, to C. J. I lite, president of Thanhouser Film 
Corporation, and vice-president of Mutual Film Corpo- 
ration. Mother and baby are doing well. The little girl 
has been named Muriel Josephine Hite. 



September 6, 1913 



MOTOGRAPHY 



16: 



Reincarnation Theme of Essanay Film 



"While the Starlight Travels" 



IN "While the Starlight Travels," the release of Sep- 
tember 5, the Essanay Film Manufacturing Company 
has a film subject of a unique sort. The theme of 
reincarnation forms the basis for the story, which begins 
way back in the Stone Age, several thousands of years 



Ric 




Doris Mitchell as "Tulon" 
"While the Starlight Tra\ 



in Essanay's 



B. C, and the second reel brings the same characters into 
the story during the period of the Civil War. 

The story was filmed in the beautiful country near 
Ottawa, Illinois and some superb backgrounds make 
ideal settings for the pictured action. One scene in 
particular, in which Tulon, the cave man, persues the 
guardian, whom he had placed over W r alla, his fair cap- 
tive, after he discovers him making love to her, is won- 




"Walla" is strangely attracted. 



derfully beautiful. The camera was set on the very 
brink of a huge canyon and we watch the chase taking 
place hundreds of feet below. This one view alone is 
almost able to redeem some poorly photographed scenes 



which follow, and will certainly be immensely enjoyed by 
all lovers of nature. 

Richard C. Travers, one of the new Essanay leads, 
appears to advantage in the dual role of Tulon and 
Lieutenant Eric in this two reel subject and it seems safe 
to predict that Mr. Travers will become a favorite with 
the public if he keeps up the high quality of work of 
which he shows himself capable in this film. 

Walla, the daughter of a chieftain, sees her father 
killed and his men routed in a hand to hand battle with 
a rival tribe. She runs to where the old man lies and 
while mourning over him, is seen by Tulon. the leader 
of the victorious band. He is captivated by the wonder- 
ous beauty of the maiden and takes her forcibly away. 
"The time will come when you will beg mercy of me, may 
our God then protect you, for I shall then be pitiless," 
she tells him, but neither her words nor her struggles to 
free herself have any effect on the stalwart young war- 




Mr. Travers and Miss Mitchell as Lieut. Eric and Ida, after their reincar- 
nation. In Essanay's "While the Starlight Travels." 

rior. After he has her in his own domain, he tries to 
win her by gentleness and gifts of rare shells. Tulon 
places a guard over her cave. At the sight of Walla, the 
guard becomes infatuated with her, and the next morning 
finding her alone in the fields, attempts to embrace her. 
Tulon comes to her rescue but the guard escapes. The 
young chieftain pursues him, and after an exciting chase 
through a canyon, they both roll down a slope into the 
Yusko river, where Tulon vanquishes his opponent after 
a terrible fight. The victor returns to Walla and is re- 
warded by her love. He takes her to the high priest, 
who asks a blessing on their union, as each swears to 
love the other "Forever." 

Toward the end of the Civil War Lieut. Eric, of the 
Federal army, is sent as a spy into the enemy's camp. 
He is discovered and shot by a Confederate soldier, who, 
with several companions, gives pursuit. Eric takes ref- 



166 



MOTOGRAPHY 



Vol. X, No. 5 



uge in a house nearby and is confronted by a beautiful 
Southern girl and her mother. At first glance, Eric 
and girl, Ida, are startled as the face of each seems 
familiar to the other, and the feeling that they have 
known and loved each other comes to both of them. 
Then they both seem to remember, and as in a vision, 
they see themselves as they had lived and loved in the 
far away Stone Age. The coming of the soldiers inter- 
rupts their retrospection. In spite of her reawakening 
love, Ida gives up Eric to his enemies, but after their 
departure she realizes that she has betrayed her rein- 
carnated lover of centuries ago. She immediately plans, 
and cleverly carries out his escape. After the war Eric 
comes back to Ida, and once again they promise their 
love and loyalty to each other "Forever." 

On Tuesday, September 9, the Essanay Company 
will release a beautiful love drama produced at Ithaca, 
New York, entitled "Sunlight," in which Francis X. 
Bushman will play the lead. 

On September 10 "Mr. Treater's Treat," a comedy 
featuring a few of the new players now working for 
Essanay, will be released and "Bonnie of the Hills," a 
strong Western drama, will follow on the 11th. 

"The Right of Way," a multiple reel dramatic at- 
traction with Francis X. Bushman in the leading role, 
will be released on September 12. This is said to be 
one of the best dramatic offerings ever produced by Es- 
sanay. The situations are thrilling in the extreme. 
"Broncho Billy Reforms," booked for release Saturday, 
September 13, is an offering of merit in which G. M. 
Anderson is featured. 



Essanay Actress Loves to Fly 

Not content with the performance of wildly western 
feats in front of the camera, Eleanor Blevins, one of the 
latest recruits at the Essanay studio at Niles, loves ad- 
venture for itself alone. It is nothing for her to mount 
the seat of a monoplane and fly forth in the California 
sunshine o'er the waters of San Francisco Bay. So far 
she has met with no serious mishap. Somehow or other 
one has to use that phrase, "so far," in talking of aviation. 
Miss Blevins is absolutely fearless, however, and in her 
the Essanay pictures have gained a comely and graceful 
actress. She was until recently playing ingenue in stock. 



Film Company at Starved Rock 

The Essanay Film Company, recognized as one of 
the principal motion picture theatrical troupes in the 
country, is now encamped in the Illinois State Park 
at Starved Rock, located near Ottawa, Illinois. The 
troupe is comprised of about twenty-five people and 
expects to stay at the park for the next three or four 
weeks. Primarily it was intended only to spend a few 
days at the park, but the grounds and views proved so 
satisfactory that the management decided to extend the 
time to a month. 



Reorganize New York State League 

At a meeting held in the Yates Hotel of Syracuse, 
New York, on Monday. August 11. a reorganization of 
the New York State Branch of the Motion Picture Ex- 
hibitors' League of America, which was disrupted by the 
bolting of many delegates during the recent national 
convention, was effected. Presidenl M. \. Neff called the 
meeting to 'Tiler and read telegrams received from 

[i als who were not personally represented at the 
meeting. 



After some discussion the following resolutions were 
adopted : 

Resolved, That the New York State Branch No. 11, of the 
Motion Picture Exhibitors' League of America, does hereby 
endorse the actions and work of the National Motion Picture 
Exhibitors' League of America and its officers. 

Resolved, That the New York State Branch No. 11 hereby 
recognizes the New York Local No. 1 of New York City as 
the legally affiliated local of New York City, designated as the 
Motion Picture Exhibitors Board of Trade of New York City, 
Incorporated. Sidney Ascher, president; Frank E. Samuels, 
secretary. 

Following the passage of the above resolutions the 
gathering proceeded to elect the following officers : W. 
E. Wilkenson, Syracuse, national vice-president; A. N. 
Wolff, Rochester, president ; Charles P. Smith, Syracuse, 
first vice-president ; F. C. Pierce, Geneva, second vice- 
president; F. E. Samuels, New York City, secretary; W. 
C. Hubbard, Rochester, treasurer; John Mullaney, New 
York City, sergeant-at-arms. The following legislative 
committee was also chosen : Mr. Day of Auburn, Mr. 
Lux of Utica, and Mr. Fox of Binghamton. 

G. A. Langa, Syracuse, was appointed chairman of 
the committee on membership; Tobias Keppler, New 
York City, chairman of committee on laws; E. W. Logan, 
chairman of committee on publicity; F. W. Esterheld, 
Rochester, chairman committee on grievances ; and John 
Mullaney, New York City, chairman of committee on 
constitution and by-laws. Each chairman was authorized 
to select the members of his particular committee. 

It was decided, after some discussion, that the officers 
elected should serve as temporary officers only and that 
another convention should be called at Rochester, New 
York, on October 15 and 16. 



'■New York Association Formed 

At a meeting of the state executive board of the 
motion picture exhibitors of the state of New York, 
which was held at the Yates Hotel, Syracuse, N. Y., on 
Monday, August 11, with all the state executive officers 
in attendance, it was decided to entirely sever all rela- 
tions with the Motion Picture Exhibitors' League of 
America. This decision was embodied in a resolution -to 
the effect that "this organization be known as the Motion 
Picture Exhibitors Association of New York State." 
The following state officers will continue in office : Pres- 
ident, Samuel H. Trigger, New York; first vice-presi- 
dent, B. E. Cornell, of Syracuse; second vice-president, 
H. L. Fox, of Binghamton ; secretary, William A. Dou- 
que, of Utica ; treasurer, John C. Davis, of Saugerties ; 
chairman of the executive committee, L B. Friedman, of 
Buffalo. 

There was an attendance of thirty-nine exhibitors, 
composing the officers of the various locals in the state 
of New York, consisting of Albany, Schenectady. Utica, 
Buffalo, Rochester, Syracuse, Oswego, Binghamton and 
New York City. After pledging fidelity to Mr. Trigger 
and the new International Motion Picture Association, 
and making plans for organizing new locals throughout 
the state, tin- delegates went to the City Hall where 
motion pictures were made of the group descending the 
steps of the building. 



Among the sweeping reforms urged at the annual 
meeting of the Juvenile Protective Association in the 
Jefferson Hotel, Richmond. Ya.. was the appointment of 
police matrons for moving picture shows. Tt was pointed 
out that many stories told by skirls to officers of the asso- 
ciation have their origin in Broad street moving picture 
houses and entertainment places. 



September 6, 1913 



MOTOGRAPHY 



167 



Motogfraphys Gallery of Picture Players 



MRS. CLARA REYNOLDS SMITH plays character 
parts in film stories told by the Essanay eastern 
companies and is greatly liked for her versatile work. 
It was as a dramatic reader that Mrs. Smith began her 

work before the pub- 
lic; the Lyceum plat- 
form knew her well 
twenty years ago, and 
for a time she held 
the chair of oratory in 
Deland College, now 
Deland University, 
Deland, Fla. As 
"Mrs. Goodly" in 
"What Happened to 
Jones ?" she courted 
popularity with thea- 
ter goers and since 
then has played a 
wide range of parts in 
eastern and western 
stock and supported, 
among other stars, 
Amelia Bingham, 
Victor Moore and 
Wm. Collier. As the 
German mother in 
Augustus Thomas' 
"When It Comes Home," she said her good-byes to New 
York and accepted the position offered her by the 
Essanay company at its Chicago studio. It was her first 
appearance in "pics" and she liked it so well she stayed. 




Clara Smith 



RC. TRAVERS, a new lead in eastern Essanay films, 
• inspires spectators to ask "Where have we seen that 
face before?" And they're quite right about having seen 
it before, as Mr. Travers has loaned his high forehead, 

his coal-black hair, his 
soulful eyes and en- 
gaging personality to 
the stage for a num- 
ber of years and to 
Lubin pictures for 
two years. As a Lu- 
binite, he gained a 
following that is still 
faithful to the mem- 
ory of those days. 
But Wagenhall and 
Kemper's "Paid in 
Full" beckoned with 
a tempting offer and 
Mr. Travers accepted. 
After that there were 
Liebler's "Alias Jim- 
my Valentine," Shu- 
bert's "Girls," Wil- 
liam A. Brady's 
"Making Good" and 
"A Gentleman of 
Leisure," and Chas. 
Kleine's "The Gambler." In "The Passing of the Idle 
Rich." he made his farewell bow to Broadway,_ then 
boarded the Limited for Chicago, the Essanay studio and 
further popularity through the medium of pictures. 




Richard Travers 



MINOR S. WATSON is the new and good-looking 
juvenile lead in eastern Essanay pictures. He got 
his experience touring the country with such companies 
as those of Blanche Bates, Chauncey Olcott and Douglas 
Fairbanks, and had 
the knack of fitting 
into whatever role 
was presented him. 
He also entered that 
invaluable school 
which typifies hard 
work and an unlim- 
ited experience 
— Stock. This was in 
Morristown, N. J., 
with the Palace Thea- 
ter Stock company, 
and his accomplish- 
in this venture held 
Mr. Watson here for 
a whole season. Then 
"bigger time" again 
claimed him and he 
resumed former ac- 
quaintanceships along 
Broadway and played 
in several of New 
York's New Theater 
productions. When the Essanay Film Company decided 
to recruit its growing forces, it sent to New York to do 
so and among the number of able artists chosen was the 
versatile Watson. This was his first film experience. 




Minor Watson 



GERTRUDE FORBES is grouch-proof. She never 
has one ; they're annoying, they're also fatal to 
beauty and digestion so why entertain them? "Don't," 
advises Miss Forbes, who is one of the world's few 
people who follows 
her own advice. How- 
ever, if you insist 
upon having a grouch 
Miss Forbes requests 
that you take it not 
to a picture show and 
saddle the perform- 
ance with it, for that 
would do the players 
an injustice. But the 
Essanay Film Com- 
pany is of the opinion 
that Miss Forbes can 
dispel any and all 
grouches, and those 
who have seen the 
pretty dark-haired 
actress riot through 
fun films are sure of 
it. Her mirth is con- 
tagious and she has as 
much joy playing 
"funnies" as the peo- 
ple who pay their respective five and ten-cent pieces to see 
her do it. Before "taking to pictures" Miss Forbes 
played in Harris and Brady productions, and was a 
laugh-maker in "Mr. Dimple's Dimple." 




Gertrude Forbes 



168 



MOTOGRAPHY 



Vol. X, No. 5 



Fixes Date of First Picture Machine 

A Philadelphia newspaper received the following let- 
ter from a reader naming March 16, 1870, as the date of 
the first operation of a motion-picture machine : 

"Sir : In 'The Sunday Press' of the 24th instant 
there appeared an article by George Nietzsche on Prof. 
Muybridge's contribution to the Moving-Picture Art. 
Without questioning the merits or value of Prof. Muy- 
bridge's work in this field, it would appear that the au- 
thor perhaps overlooked or was not aware that as early 
as February 5, 1870, a public exhibition of moving pic- 
tures arranged according to the principles on which they 
are shown to-day, was given in the Academy of Music 
in this city. I enclose a photographic copy of the pro- 
gram, in which the instrument is described as 'The Phas- 
matrope.' Reference to pages 6 and 7 of 'Animated Pic- 
tures,' by C. Francis Jenkins, published in 1898 in Wash- 
ington, D. C, shows that this instrument was set up and 
operated again before the Franklin Institute on March 
16th, 1870. No doubt reference to the old files of your 
paper may result in locating accounts of these perform- 
ances. Prof. Muybridge's work was, I believe, subse- 
quent to this. 

"I believe you will find that to Henry R. Heyl, who 
designed and operated the Phasmatrope, belongs the 
credit of inventing the first instrument for reproducing 
motion pictures upon a screen so that the life movements 
were distinctly visible to an audience. Mr. Heyl is living 
in West Philadelphia at the present time. 

"L. W. Steeble." 



Took a Month to Make 

The artist who makes the "Newlywed" and other 
trick pictures over at the Ft. Lee studio of Eclair has 
just finished a comedy subject of five hundred feet, which 
has taken a solid month of hard work to put together. 
It is entitled, "A Vegetarian's Dream," and shows some 
very amusing antics of vegetables, lemons, etc. This 
five hundred feet of film is made from some eighty 
thousand drawings and by some exceptionally clever 
trick work. When it comes to the showing of the lem- 
ons becoming pigs and playing leap frog, this part is 
not made from drawings and it will keep the public 
guessing for many weeks to understand how it has been 
done. 



Chinese Photo Drama Coming 

"The Celestial Maiden," a stirring melodrama, which 
is the product of the fertile brain of Don Meaney, Essa- 
nay's publicity promoter, and which will be seen on the 
legitimate stages of the country in the not far distant 
future, is now being done into a three-reel motion picture 
by Theodore W. Wharton, Essanay producer, and will 
soon to be released. It is to be played by an all Chinese 
cast and will undoubtedly prove a decided novelty. "The 
Fox," another play written by Mr. Meaney, is also being 
considered for production in pictures by the Essanay 
forces. 



Adding to Edison Studio 

The Edison studio, which only a few years ago was 
hailed as the biggest and best equipped moving picture 
studio, has already been out-grown by the Edison Com- 
pany. A large addition is now being made to the front 
of the present building which will provide a large area 
of much needed stage room. 




IliliiS mini 



"Stroller" of the Kinematograph and Lantern Weekly of 
London, England, asks a very pertinent question when he in- 
quires "What's coming next?" and publishes the following 
advertisement which recently appeared in an English news- 
paper : 

First-class Blind Pianiste wants engagements ; Picture Halls preferred. 
— S. Powell, 23 Victoria Square, Oldham Road. 

Anybody got the last quotation on plaster? Spedon, of 
Vitagraph, bulletins us that the statue used in the forthcoming 
production of "Daniel in the Lion's Den" required over half a 
ton of plaster to make and cost over $800. Get your pencils, 
lads, and dope it out in black and white. S. M. must be the 
guy that put the "bull" in bulletin. 

OUR BURG. 

J. Stuart Blackton, pres. of the Vitagraph Co., of Xoo Vawk, spent 
a few days in our midst last wk. splashing around in Lake Mish with that 
put-put boat of his'n. Incidentally J. S- cleaned up about all the prizes 
in sight before he left for home. 

Jos. Hopp and C. R. Plough, two of our prom, cits, have returned 
from a flying visit to the Effete East. Jos. and C. R. have bin East so 
many times they now know the scenery almost by heart, on both sides of 
the track. 

Roy Seery, Mgr. of the Majestic Film Service Co., held a house warm- 
ing on the 21st in his new orrises in the Mailers Bldg. That new offis is 
some regular place and both R. C and the Majestic Co. have a right to 
be mighty proud of it. Congrats are extended. 

The Universal announces the title of the first film in which 
Warren Kerrigan will appear for them is "A Restless Spirit." 
Wonder now, lads, what could have inspired that title. 

THE SIDETRACK. 

At the suggestion of M. C. we are running that old familiar 
subtitle "Later" on The Sidetrack. At the Mutual show one 
day last week that particular sub-title cropped up no less than 
eight times in about a half-hour. Honest fellers that is a little 
bit too much. Can't you think of another word just by way of 
variety? 

Speaking of the Mutual show reminds us that one of the ex- 
hibitors present that day lamped the croquet set in the back- 
ground of one of the scenes in Thanhauser's "A Ward of the 
King," the story of which is laid in the days of Louis XVI, and 
loudly remarked : "Gee they didn't play croquet in those days 
did they?" "Naw," answered a brother exhibitor, "they played 
gulf." "Gulf" is good, eh lads? 

The Western press agent of Universal would have us be- 
lieve that the players taking part in a burlesque melodrama now 
being produced at Universal City had so much fun in their 
respective roles that they are seriously considering refusing to 
accept any salary for the work. Now whaddaya know about 
that? 

THEIR FAVORITE SONGS. 
McGraw — "It's a Grand Old Flag." 
Thaw — "I'm Going Back." 
Laemmle and Powers — "Harmony." 
Fred Mace — "Life's a Funny Proposition After All." 
The Goatman — "The Gondolier." (Slang For "The Boatman.") 

Rumors from the wilds of Northern Wisconsin hint that 
A. D. Cloud of The Photoplay Magazine was "pinched" one day 
last week for having in his possession a specimen of the finny 
tribe below the size which the law stipulates may be hooked at 
this season of the year. Guess the cigars are on you A. D., and 
if you'll take a friendly tip, you'll lug along a tapeline and a 
pair of fish-scales, hereafter, when starting on one of those 
"close to Nature" expeditions. 

Next time you chat with Mabel Condon ask her to tell you 
the capital of Long Island. Mabel insists that Long Island is a 
state, all by its lonesome, even though she can't prove it by the 
office atlas. We'll nominate Mabel for Governess of the state 
on the Suffragette ticket. Do we hear a second? 

When we can't think of a last line 



We just stop. 



N. G. C. 



September 6, 1913 



MOTOGRAPHY 



169 




Scene from Kleine-Cines Release, "For His Brother's Crime." Copyrighted by George Kleine. 



Motion Picture Making and Exhibiting 

By John B„ Rathbun 



Chapter VI {Continued) 

IN ESTIMATING the size of the screen if should not 
be forgotten that the proportion between the length 
and height of the screen must be the same as the pro- 
portions of the film picture, and that it is impossible for 
the lens to change this relation. As the film picture is 
?4xl inch, the height of the picture is three quarters of 
the length, a proportion that must be followed on the 
screen. If the image on the screen is to be 12 feet long, 
the height will be ^4 °f twelve, or 9 feet, a figure that 
cannot be changed unless part of the picture is trimmed 
from the screen. The fact that the aperture plate is 1-16 
inch less than the film picture in each dimension does not 
change the proportions of the picture to any great extent. 
When stereopticon slides are to be used the pro- 
portions of the picture are changed, as the stereopticon 
slide is more nearly square, necessitating a higher screen 
than that used with the motion pictures. The size of a 
standard slide is usually taken as being 2^x3 inches, 
although many slides are larger than this. The outside 
dimension of the American standard slide is 3^x4, and 
the foreign slide is 3%x3;/4 inches, the actual picture 
space being practically the same in both cases, because 
of the binding or blank margin. 

The actual screen should be larger than the picture 



allowing for a suitable margin all the way around, and 
the margin should be painted black so that any over- 
hanging parts of the screen image will be invisible to the 
audience. When the screen is exactly the size of the pic- 
ture, an unevenly centered slide or film will run over the 
edge of the screen giving a very untidy appearance, and 
creating a bad impression in the minds of the audience. 

As explained in a preceding paragraph, the focal 
length of the objective lens is approximately the dis- 
tance from the film to the focal center of the lens, a 
point near the center of the lens tube, or midway be- 
tween the two glasses. This measurement is accurate 
enough for the calculations made in determining the size 
of lens. The real focal length is just a little shorter than 
this. With a given lens the focal distance may be meas- 
ured by turning the end of the lens toward the light of 
a window and then placing a white card or piece of paper 
near the back of the lens. By moving the paper back 
and forth a point will be found at which the lines of the 
window frame appear sharp and distinct. With the paper 
in the latter position measure the distance from the cen- 
ter of the lens tube to the paper; this is the focal length 
of the lens. 

The relations between the focal length, throw, and 
picture size, are shown by the accompanying table from 



170 



MOTOGRAPHY 



Vol. X, No. 5 



which the data may be readily obtained without calcu- 
lation. The equivalent focal length of the lens is given 
in the first left hand column. Arranged horizontally 
across the top of the table are the throws ranging from 

TABLE SHOWING SIZE OF SCREEN IMAGE WHEN MOTION 
PICTURES ARE PROJECTED. 

Size of mat opening 5J by f| inch. 



Eqnlv. locos 


15 


20 


25 


30 


35 


40 


45 


50 


60 


70 


80 


90 


100 


ladies 


ft. 


ft. 


ft 


ft. 


ft. 


ft. 


it. 


ft. 


ft. 


ft. 


ft. 


ft. 


ft. 


VA 


4.8 


8.4 


8.0 


'9.8 


11.3 


12.9 


14.5 


16.1 




8.5 


8.7 


11.0 


13.2 


15.4 


17.8 


19.8 


22.0 












IK 




5.4 


6.8 


8.2 


9.6 


10.9 


12.3 


13.7 


16.4 














74 


9.3 


11.2 


13.1 


14.9 


16,8 


18.7 


22.4 










3 




4.5 


S.7 


6.8 


8.0 


9.1 


10.3 


11.4 


13.7 


16.0 












6.2 


7.T 


9.3 


10.9 


12.4 


14.0 


15.6 


18.7 


21.8 








VA 






4.9 


5.8 


6.8 


7.8 


JB.8 


9.8 


11.7 


13.7 


15.7 












6.6 


8.0 


9.3 


10.6 


12.0 


13.3 


16.0 


18.7 


21.4 






4 






4.2 


6.1 


6.0 


6.8 


7.7 


8.5 


10.3 


12.0 


13.7 


15.4 










5.8 


7.0 


8.1 


9.3 


10.5 


11.6 


14.0 


16.3 


18.7 


21.0 




«'/j 








4.5 


5.3 


8.2 


6.8 


7.7 


9.1 


10.6 


12.2 


13.7 


15.4 










6.2 


7.2 


8.4 


9.3 


10.5 


12.4 


14.5 


16.6 


18.7 


21.0 


S 










4.8 


S.4 


8.1 


6.8 


8.2 


9.6 


10.9 


12.3 


18.1' 


I 








6.5 


7.4 


8.4 


9.3 


11.2 


13.0 


14.9 


16.8 


18.7 


sa 










4.3 


4.9 


5.8 


6.2 


7.4 


8.7 


9.9 


11.2 


12.4 












5.9 


8.7 


7.6 


8.4 


10.2 


11.6 


13.6 


15.3 


17.0 


6 












4.5 


5.1 


5.7 


6.8 


8.0 


8.1 


10.3 


11.4 














8.2 


7.0 


77 


9.3 


10.9 


12.4 


14.0 


15.6 


t'A 














4.7 


5.2 


6.3 


7.3 


8.4 


9.6 


10.6 
















64 


7.1 


8.6 


10.0 


11.4 


13.0 


14.5 


j 














44 


4.9 


5.8 


9.8 


7.8 


8.8 


9.8 




i 










6.0 


8.8 


8.0 


9.3 


10.6 


12.0 


13.3 


Vfi. 
















4.5 
8.2 


5.4 

7,4 


6.4 
8.7 


7.3 
10.0 


8.2 
11.2 


8.1 
12.3 


8 


















5.1 
7.0 


6.0 
81 


6.8 
9t3 


7.7 
10.5 


8.5 
11.8 



be found that a lens having a focal length of 5j4 inches 
will be required. 

The table is reversible, that is, it may be used to 
find the picture size with a given lens and throw, or it 
may be used to find the throw necessary to obtain a pic- 
ture of the given size with a given lens. Both of these 
calculations will prove of use to the operator of a trav- 
eling show or lecture tour who is continually meeting 
with widely varying lengths of throw, and who is seldom 
blessed with more than one objective. 

Example. — A projector has a lens of A%. inch focal 
length, and is installed so that the throw to the screen 
is 50 feet. Find the size of the picture. 

Solution. — From the figure \ J / 2 in the left hand col- 
umn follow across the page to the right until in the col- 
umn marked "50 feet." The picture size will be found 
given as 7.7x10.5 at the intersection of the horizontal 
lines and the column. 

When the length of throw is required that will give 
a certain size of picture with a given focal length, start 
with the focal length in the left hand column and follow 
to the right until the required picture size is found. 
From the latter figure trace up the column to the figure 
given in the heading. This will be the required throw. 

Example. — It is necessary to obtain a picture ap- 
proximately 9x12 feet with a lens having a focal length 
of 4 inches. Find the throw. 

Solution. — Starting with 4, the focal length of the 
lens, in the left hand column, follow along a horizontal 
line to the right until the nearest size of picture is found, 
which in this case will be 8.5x11.6. Follow this column 
to the top where it will be found that 50 feet is the re- 
quired throw. 

When stereopticon slides are to used, the height of 



15 to 100 feet. In the body of the table to the right of 
the focal length column and below the line of throws are 
the picture sizes that correspond to the values given by 
the two columns. It will be noted that there are two 
different figures given for the screen size opposite each 
value of the focal length, that give the length and height 
of the projection. The upper figure of the pair gives 
the height of the picture and the lower gives the length. 

Thus the picture size given by a lens having a focal 
length of four inches gives a picture 6 feet in height 
by 8.1 feet in length, with a throw of 35 feet. Combina- 
tions giving a picture length less than 7.0 feet are omitted 
from the table as a picture having length less than this 
is not suitable for public exhibition, especially with the 
longer throws. By examining the table it will be seen 
that the picture size diminishes with an increase of focal 
length with a constant length of throw. With a given 
focal length, the picture size increases with an increase 
of throw. 

When the size of the picture and the length of the 
throw has been determined, the operator can find the 
necessary focal length of the lens by starting at the top 
of the table and following down the column under the 
head giving the throw, until a picture size is found that 
approximates the desired size. 

Example. — In a certain theater it is necessary to 
have a throw of 70 feet. The picture is to be, as nearly 
as possible, 8 feet in height by 12 feet in length. Find 
the focal length of the lens necessary for this condition. 

Solution. — Under the heading "70 feet," follow down 
the column until the nearest picture size is found, which 
is in this case 8.7x11.0 feet. From the figure giving the 
height of the picture (8.7 feet) follow along this line 
to the left to the equivalent focus column where it will 



SIZE OF LANTERN SLIDE SCREEN IMAGES 

Size of Mat Opening 2/4 x 3 inches 



Equiv. Focal 
Length Ins. 


Length of Throw (Feet) 




15 

8.0 


20 
10.8 


25 
13.5 


30 
16.3 


35 
19.0 


40 


45 


50 


60 


70 


80 


90 


100 


5 




8.8 


11.8 


14.8 


17.8 


20.8 


















5Vi 


7.3 


9.8 


12.3 


14.8 


17.3 


19.8 
















7.9 


Kl.7 


13.4 


16.1 


18.8 


21.6 














6 


6.6 


8.9 


11 2 


13.5 


15.8 


18.1 


20 4 
















7.3 


9.8 


12.3 


14.8 


17.3 


19.8 


22.3 














6H 


6.1 


8.2 


10.4 


12.5 


14.6 


16.7 


18.8 
















6.7 


9.0 


11.3 


13.6 


15.9 


18.2 


20.5 














7 


5.7 


7.6 


9.6 


11.6 


13.5 


15.5 


17.5 


19.4 














6.2 


8.3 


10.5 


12.6 


14.6 


16.9 


19.0 


21.2 












IVi 


5.3 


7.1 


8.9 


10.8 


12 6 


14.4 


16.3 


18.1 














5.8 


7.8 


9.8 


11.8 


13.8 


15 8 


17.8 


19.8 












8 




6.6 


8.4 


10. 1 


11.8 


13.5 


15.2 


17.0 


20.4 














7.3 


9.1 


11.0 


12.9 


14 8 


16.6 


18 5 


22 3 










V/i 




6.2 


7.9 


9.5 


11.1 


12.7 


14.3 


16.0 


19 2 














6.8 


8.6 


10.3 


12.1 


13.9 


15.6 


17.4 


20.9 










9 




5.9 


7.4 


8.9 


10.5 


12.0 


13.5 


15.1 


18.1 


21 1 












6.4 


8.1 


9.8 


11.4 


13.1 


14 8 


16 4 


19 8 


23.1 








9J4 




5.6 


7.0 


8.5 


9.9 


11.4 


12.8 


14 2 


17 .1 


20.0 












6.1 


7.6 


9.2 


in 8 


12 4 


14.0 


15 5 


18 7 


21.9 








10 




5.3 


6.6 


8.0 


9 4 


10.8 


12.2 


13.5 


16 3 


19 


21.8 










5.8 


7.3 


8.8 


10.3 


11.8 


13 3 


14 .8 


17.8 


20.8 


n s 






12 






5.5 


6.6 


7.8 


8 9 


10.1 


11.2 


13.5 


15.8 


18.1 


20 4 










6.0 


7.3 


8.5 


9.8 


11.0 


12 3 


14 8 


17.3 


19 8 


22 3 




14 








5.6 


6 6 


7.6 


8.6 


9.6 


11 6 


13 5 


15.5 


17,5 


19.4 










6.2 


7.3 


8.3 


9.4 


1«'.5 


12 6 


14 8 


K. 9 


19 


21 2 


16 










5 8 


6 6 


7.5 


8.4 


10 1 


11 8 


13 5 


15.2 


17.0 












6.3 


7.3 


8.2 


9 1 


11 


12.9 


14 8 


16 6 


18.5 


18 










5.1 


5.9 


6 6 


7.4 


8.9 


10.5 


12 .0 


13 5 


15.1 












5.6 


6.4 


7 3 


8 1 


9.8 


11 4 


13 1 


14 8 


16 4 


20 












5.3 


6.0 


6 6 


8 


9 4 


111 s 


12.2 


13.5 












5.8 


6.5 


7.3 


8 8 


10.3 


11 8 


13.3 


IIS 


22 












5 4 


(, 7 3 


8.5 


•1 8 


110 


12 3 
















5.9 


6.6 79 


9.3 


10.7 


12.0 


13 4 


24 














5.5 6.6 
6.0 7.3 


7 8 
8.5 


8 9 

•1 s 


10.1 
11.0 


11.2 
12.3 



the screen will be much greater in proportion to the 
length, so that a separate table must he used that will 
take the size ^\ the slide into consideration. The height 
of the slides really determines the height of the screen, 



September 6, 1913 



MOTOGRAPHY 



171 



when both classes of picture are used. This data is given 
in a second table headed "Screen sizes for Lantern 
Slides" which is used in exactly the same way as the 
table of motion picture projection. 

When the factors in the table do not exactly coin- 
cide with the given quantities, and when the lens de- 
terminations are to be made more accurately than can be 
taken from the tables, the following rules may be used : 

Picture Height is equal to the height of the aperture 
(11/16 inches) multiplied by the throw, the product 
being divided by the focal length of the lens. All di- 
mensions are to be in inches. 

Picture width is obtained by multiplying the aperture 
width (15/16 inch) by the length of throw, the product 
being divided by the focal length of the lens. All di- 
mensions to be in inches. 

The focal length of the lens is equal to the film aper- 
ture width (15/16 inch) multiplied by the throw, and 
divided by the required picture width. Dimensions in 
inches. 

Throzv is equal to the width of the desired screen 
picture multiplied by the focal length of the lens divided 
by the film aperture width. Dimensions in inches. 

These rules are approximate, to avoid the use of 
more complicated calculations, but are accurate enough 
for the purpose for which they are intended. The maxi- 
mum variation from the actual figures will not exceed 
one inch, a negligible quantity in this work. These rules 
are worked out from a simple arithmetical proportion 
that reads as follows : 

Focal length : Throw : : Film picture : Screen image. 

ADJUSTABLE LENSES. 

The focal length and picture size can be changed 
on some lenses by turning the front cell by the rim, which 
of course moves the front lens in or out, according to 
the direction of rotation, and changes the relative posi- 
tion between the front and rear glasses. By this means 
it is possible to secure quite a variation in the size of the 
image for a given throw, in some cases nearly 40 per 
cent. These are special lenses and quite expensive. A 
slight reduction in the picture size can be made in any 
lens by unscrewing the front lens, but this procedure 
does usually result in the best class of projection. 

MATCHED LENSES. 

When the projector is to be used for projecting both 
motion pictures and slides, the condition in the majority 
of cases, it is provided with two lenses placed side by 
side, one being used for projecting the slides and the 
other for the film. These lenses are matched or designed 
so that they both give screen pictures of the same width 
or area on the screen with the same throw, notwithstand- 
ing the difference in the size of the film picture and the 
slide, or the difference in their proportion. 

If the screen is made in the proportions of the mo- 
tion picture, it is evident that the slide image can be no 
higher than the height of the motion picture, which of 
course results in a narrow slide image. Since the latter 
is of less area than the film picture, owing to its smaller 
width, it will be much brighter with slides having an equal 
density. With images of equal area the slide will be 
much higher than the film image but will be of the same 
brightness. 

For equal heights of picture, the stereopticon lens, 
or "Stereo" lens as it is called, must have a focal length 
of 4.00 times the focal length of the motion picture lens. 
For equal areas, the stereo lens should have a focal 
length of 3.60 times the focal length of the motion head 
lens. The same lamp house and condenser lens ser